Dokumen - Pub - Real World Google Sketchup 7 0321694864 9780321660312 0321660315 9780321694867

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Real World
GOOGLE
SKETCHUP 7
Mike Tadros
Peachpit Press
berkeley, california
00 RW SketchUp_FM_i-xii.indd i 12/2/09 1:59 PM

REAL WORLD GOOGLE SKETCHUP 7

Mike Tadros
Peachpit Press
1249 Eighth Street
Berkeley, CA 94710
510/524-2178
510/524-2221 (fax)
Find us on the Web at: www.peachpit.com

To report errors, please send a note to errata@peachpit.com
Peachpit Press is a division of Pearson Education.
Copyright © 2010 by Igloo Studios
Editor: Becca Freed

Production Editors: Lisa Brazieal and Tracey Croom
Development Editor: Dan J. Foster
Copyeditor: Dan J. Foster
Proofreader: Patricia J. Pane
Compositors: David Van Ness and Owen Wolfson
Indexer: Valerie Perry
Cover design: Charlene Will
Cover Illustration: Ryan Alden; www.ryanalden.com
Cover model of Dry Van Trailer courtesy of Sam J. Wipf
Notice of Rights
All rights reserved. No part of this book may be reproduced or transmitted in any form by any means, electronic,
mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher.
For information on getting permission for reprints and excerpts, contact permissions@peachpit.com.
Notice of Liability
The information in this book is distributed on an “As Is” basis without warranty. While every precaution
has been taken in the preparation of the book, neither the author nor Peachpit shall have any liability to any
person or entity with respect to any loss or damage caused or alleged to be caused directly or indirectly by
the instructions contained in this book or by the computer software and hardware products described in it.
Trademarks
Google, Google Earth, Google SketchUp, and Google LayOut are trademarks of Google. Many of the
designations used by manufacturers and sellers to distinguish their products are claimed as trademarks. Where
those designations appear in this book, and Peachpit was aware of a trademark claim, the designations appear
as requested by the owner of the trademark. All other product names and services identified throughout this
book are used in editorial fashion only and for the benefit of such companies with no intention of infringement
of the trademark. No such use, or the use of any trade name, is intended to convey endorsement or other
affiliation with this book.
ISBN-13 978-0-321-66031-2
ISBN-10 0-321-66031-5
987654321
Printed and bound in the United States of America
00 RW SketchUp_FM_i-xii.indd ii 12/2/09 1:59 PM

iii

Table of Contents
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ix
Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xii
Chapter One: Setting Your SketchUp 7 Preferences . . . . . . . . . . . . . . . . . 1

Applications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Drawing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Extensions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
General Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Saving . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
OpenGL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
What Is OpenGL? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
What’s It Got to Do with You? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
How Do You Avoid an OpenGL Breakdown? . . . . . . . . . . . . . . . . . . . . . . . . . 8
Shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Setting Custom Shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Importing and Exporting Shortcuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Template . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
Workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Tool Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Main Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Chapter Two: Creating Custom Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Model Info . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Animation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Credits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Dimensions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
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iv TABLE OF CONTENTS
Location . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Rendering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Statistics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Units . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Default Field of View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
More Template Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
In Model Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Shadow Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Scenes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Chapter Three: SketchUp Extensions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Ruby Scripts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Where to Find Ruby Scripts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
How to Install Rubies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Developer Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Where to Find Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
How to Install Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Developer Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Top 10 Extensions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Chapter Four: Importing SketchUp Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Basic SketchUp File Importing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Using the Component Browser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Getting Models from the Google 3D Warehouse . . . . . . . . . . . . . . . . . . . . . . . . . 47
Finding What You’re Looking For . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Methods of Downloading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Creating Your Own Collections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Creating an Easy-Bake Site Model . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Downloading Nearby Models . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Size Matters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Scaling Your Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Reducing File Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Too Much Junk in the Trunk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Other Component Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
TABLE OF CONTENTS v
Chapter Five: Importing CAD Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Choosing CAD Import Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72
Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Preserve Drawing Origin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Orient Faces Consistently . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Working with 2D CAD Files in SketchUp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Prepping Your Files in CAD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Managing Layers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Drawing Walls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Drawing Windows and Doors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Modeling Complex Shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
Working with Contours . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Lost in Translation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Working with 3D CAD Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
Making It Look Good . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100
Additional Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
Chapter Six: Importing Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Choosing an Image File Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Alpha Channel Transparency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106
Image File Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
The Versatility of PNGs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
Importing an Image as an Image Object . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Gluing Image Objects—Signage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109
Placing Free-Floating Images—Backgrounds . . . . . . . . . . . . . . . . . . . . . . . . . 111
Plans and Elevations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116
Importing an Image as a Texture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Projected Versus Tiled Textures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124
Creating and Importing Cropped Textures . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
Working with Perspective Photos in SketchUp . . . . . . . . . . . . . . . . . . . . . . . . 132
Importing Street View Imagery as a Photo Texture . . . . . . . . . . . . . . . . . . . . 136
Importing an Image as a Matched Photo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143
Chapter Seven: Mastering Materials . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153

Materials and Textures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154
Creating and Managing Your Material Libraries . . . . . . . . . . . . . . . . . . . . . . . . . 157
Creating a New Library from Scratch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157
Duplicating an Existing Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160
vi TABLE OF CONTENTS
Creating New Materials . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162

Creating a New Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162
Sampling Onscreen Colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164
Creating a New Texture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165
Editing SketchUp Materials . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168
Editing Colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169
Editing Texture Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169
Swapping Black-and-White Satellite Imagery from Google Earth
with Color Imagery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
Chapter Eight: Mastering Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179

Creating Basic Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180
Assigning a Name and Description . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182
Determining the Component Origin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
Setting a Gluing Plane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186
Creating Nested Groups and Components . . . . . . . . . . . . . . . . . . . . . . . . . . . 187
Creating Face-Me Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190
Creating Dynamic Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194
Creating a Dynamic Door Component . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195
Generating Reports . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213
Advanced Component Uses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214
Select Instances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214
Make Unique . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214
Save As and Reload . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217
Upload Component . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218
Chapter Nine: Mastering Scenes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219

Creating a Scene . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220
Setting Up a Camera Fly-Through . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223
Positioning a Standard Camera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224
Positioning a Target Camera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226
Playing an Animation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228
Reordering Scenes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229
Creating Shadow Animations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229
Updating Shadows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230
Using Scenes to Improve Performance with Large Files . . . . . . . . . . . . . . . . . . . 233
Setting Up Animated Section Cuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235
TABLE OF CONTENTS vii
Chapter Ten: Exporting Graphics from SketchUp . . . . . . . . . . . . . . . . . 243

Preparing Your Model for Presentations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244
Dimensioning Your Model in SketchUp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244
Annotating Your Model . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246
Adding Watermarks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246
Exporting to Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249
Printing Your SketchUp Model . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249
Print Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250
Exporting 2D Graphics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251
Exporting Raster Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251
Post-Production Tricks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253
Exporting Vector Artwork . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255
Exporting to CAD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259
Google Layout . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263
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ix
Introduction
I started using SketchUp about six years ago after a friend convinced me to
give it a shot for some of the architectural design work I was doing while
working for a firm in Los Angeles. At the time, I was spending about half of
my time on the verge of falling asleep drafting in AutoCAD or stressed out
about how much time I would have to spend in 3DS Max, Photoshop, and
Illustrator to put together my next presentation. By all comparisons,
SketchUp was simply fun! And that was the initial reason why I was com-
pelled to figure out a way to use it to do just about everything.
Soon after plowing through my first few SketchUp projects, I was presented
with an opportunity to join the SketchUp team as a software trainer. Over the
past six years I’ve spent countless hours traveling the world, teaching people
to use SketchUp, and I have continued to use SketchUp for the design and 3D
modeling projects that we work on at my company, Igloo Studios.
I wish I could take full credit for having conceived of everything you’ll read
in this book, but, in fact, the following pages are an amalgamation of having
met and shared ideas with thousands of professionals across all sorts of profes-
sions, from elementary school teachers who work with kids on the autism
spectrum, to CAD managers at Skidmore Owings and Merrill—as well as
landscape, graphic, interior, and kitchen & bath designers, contractors and
construction managers, building product manufacturers, city and regional
planners, packaging designers, and tech savvy do-it-yourselfers.
Having reached the point some years ago when SketchUp became not only
fully integrated into our professional workflow but the central tenet around
which all other software and processes revolved, a paradigm shift occurred in
x INTRODUCTION
the efficiency and ease with which we were able to communicate with our clients and
deliver solutions that exceeded expectations.
What follows is a summary of some of the workflow methods and practices that have
proven successful for the work that my colleagues and I have done, as well as methods
that have proven successful for others whom I’ve taught and who have reported their
success stories back to me.
This isn’t a basic intro to SketchUp that talks about how to use the Pencil tool or the
Push/Pull tool; there are already a few other books out there that you can buy for that
stuff. This is a book that covers the issues you probably don’t even know you have,
especially with regard to all the time you’re probably wasting by not having had a
chance to fully think through the workflow and interoperability of using SketchUp in
conjunction with other design practices and software programs.
This book is broken up into four main sections that are intended to focus on the issues
most relevant to taking it up a big notch when it comes to spending less time banging
your head against the wall and spending more time wowing the pants off our clients:
1) Setting up your SketchUp preferences; 2) Importing stuff into SketchUp; 3) Working
on and managing your SketchUp models efficiently and; 4) Exporting stuff from your
SketchUp models.
If you’re new to SketchUp, you’ll probably be able to get through the next couple hun-
dred pages without too much trouble, but you’ll certainly have a much easier go of it if
you’ve already got a basic understanding of how SketchUp works. That is why this
book comes with a DVD loaded with supplemental video tutorials intended to help
ensure a successful journey through the examples contained herein. I’ve also included
URLs throughout the book that link to online resources that will help you build up
solid fundamental SketchUp skills while chugging through the more advanced stuff
outlined in this book.
Some of the videos you’ll find on the DVD are episodes of The SketchUp Show
video tutorial series (which is also available on YouTube, iTunes, and our Web site,
www.go-2-school.com). The DVD also includes snippets from other SketchUp
Training DVDs that we’ve produced at School.
On our School Web site, you’ll find dozens more episodes of The SketchUp Show as well
as a variety of other training products and services for Google SketchUp, Google
Layout, and Google Earth, such as Training DVDs, Webinars, and options for live,
in-person SketchUp training.
INTRODUCTION xi
I tried hard over the past six months of writing this book to ensure that it included
information that even a seasoned SketchUp veteran could benefit from. This is my
first time writing a book and I’m more than happy to receive your feedback about it.
If you buy this thing and think there’s room for improvement, I’d like to know.
(Seriously, please email me at mike@go-2-school.com if you think this book sucks
and tell me how I could have made it better. If this thing sells enough copies, there’s
a chance I might get to do this again someday.)
I’ve long subscribed to the notion that for any of us to stand a chance of evolving
personally or professionally, we have to try to fulfill our responsibility to help each other
get better at what we do. This book, as well as the rest of the work that my colleagues
and I do at School, is focused on trying to catalog as much information as possible for
helping people integrate SketchUp into their own professional workflows—with the
hope that ultimately we may all benefit from any further evolution that’s inspired by
the work we’ve done, the discoveries we’ve made, and the things we’ve learned.
I accepted the offer to write this book because I knew there were things in my head
that weren’t in any other SketchUp books out there and I thought I stood a good
chance of putting something together that could benefit the folks who got their hands
on this book you’re holding right now.
My sincere hope is that you find the information contained herein to be helpful,
inspirational, and fun! I also hope that you’ll be able to use this book to guide further
discovery and that you’ll perhaps then have an opportunity to experience the thrill of
sharing those discoveries with others.
Happy Sketching!
xii
ACKNOWLEDGMENTS
I would like to extend a special thanks to the following people who have all in some
way or another contributed to my opportunity to write this book:
Thanks to my family for their encouragement—especially my parents, Elaine and Tad,
who have always been there to support me in anything and everything I’ve ever set
out to do.
To my wife Suzanne for all of her love and support. I truly would not be where I am
today without her.
To all of my colleagues at Igloo Studios (past and present) for helping to create a com-
pany that has afforded me the opportunity to help others.
To all of the great teachers in my life who have instilled in me a desire to teach others.
To all of my employers and co-workers throughout the years who so willingly shared
their knowledge with me.
To the entire Google SketchUp team (past and present) for their support—especially
Mark Carvalho for seeing in me what I may never have seen in myself, and to Brad
Schell and Joe Esch for creating the kick-ass program that has inspired us all.
To Peachpit for giving me the opportunity to write this book—especially Becca, Dan,
Nancy, Pat, and Bil for helping turn my ideas into something legible.
1
chapter
one
Setting Your SketchUp 7
Preferences
Setting up preferences is one of the first things that anyone who uses
SketchUp at a high level should get squared away. The Preferences dialog
is filled with options that can save bits of time here and there, increase the
functionality of SketchUp, allow you to work more intuitively, protect your
work and your files, and optimize the performance of your hardware.
Almost all the preferences discussed in this chapter are modified in the
Preferences window. On a PC, choose Window > Preferences (Figure 1.1);
on a Mac, choose SketchUp > Preferences (Figure 1.2). In this chapter we’ll
go through all the panes in the Preferences window and pick the best options
in each.
Figure 1.1 On a PC, the Figure 1.2 On a Mac, the Preferences window
Preferences window is opened is opened from the SketchUp menu.
from the Window menu.
2 CHAPTER 1: SET TING YOUR SKETCHUP 7 PREFERENCES
A PPLICATIONS
If you’ve applied image-based texture maps (such as JPEG or TIFF files) to your mod-
els (a process that will be explored in detail in Chapter 6), you may find you need to
edit those images in their native form. The Applications preference is a new feature in
SketchUp 7 that makes it easy to jump out to your favorite image editing application
for this purpose (Figure 1.3).
Click Choose and navigate to the image editing application you want to use. For exam-
ple, you might navigate to C:\Program Files\Adobe Photoshop CS4\Photoshop CS4 on
a PC, or Main HD/Applications/Adobe Photoshop CS4/Photoshop CS4 on a Mac.
DR AWING
The Drawing preferences (Figure 1.4) are a straightforward set of options that allow
you to customize the way you work in SketchUp. Tinkering with these settings can
help make your work in SketchUp more intuitive, depending on whether you’ve got
some kind of latent muscle memory built up from using your mouse or trackpad in a
particular way in other design, illustration, modeling, or rendering programs. The
preferences in Figure 1.4 are what work for me: Enable “Auto detect” and “Continue
line drawing” under Click Style, and select “Auto-activate paint tool” under
Miscellaneous.
Figure 1.3
The Applications
preferences
dialog.
Figure 1.4
Suggested
settings for
the Drawing
preferences.
EXTENSIONS 3
EXTENSIONS
This part is easy—just check all the boxes in the Extensions preferences dialog
(Figure 1.5)! In SketchUp, extensions include both Ruby scripts and plug-ins, and
we’ll install and explore various ones throughout the book. When an extension is
enabled, any toolbars associated with it will be accessible under the View > Toolbars
menu. To disable an extension, first uncheck the extension in this pane, and then
restart SketchUp.
Figure 1.5
The Extensions
preferences
dialog.
FILES
The Files pane (Figure 1.6 on the next page), which lets you specify where you
want various files to be saved, and where your various libraries will be organized,
is available only on the Windows version of SketchUp. This is one of the most impor-
tant preferences to customize if you are sharing SketchUp files with colleagues via a
file server.
• Models This field is where you tell SketchUp where to autosave your files. I have
this set to save files to the desktop. Most IT guys would shudder at the thought,
but I keep a tidy desktop, so when SketchUp crashes, the autosaved file is one of
the only things there, and I can find it quickly and get back to work.
By default, the Files preferences will point to your My Documents folder.
Figure 1.6 The

Files preferences
dialog (PC only).
• Components Component libraries can be maintained locally, or they can be

shared across a network. To set up your File preferences to reference libraries that
are managed centrally on a company file server, copy your components library to a
folder on the server and then set the components directory to that location. You can
add new subfolders within the component folder to organize components by type,
or on a per-project basis, or both.
By default, the component library directory is C:\Program Files\Google\Google
SketchUp 7\Components.
• Materials Material libraries can also be maintained locally or across a network.
For network setup, copy your Material library to the server and then set the
Materials directory to that location. You can add new subfolders within the
Materials folder to organize components by type, or on a per-project basis, or both.
By default, the material library directory is C:\Program Files\Google\Google
SketchUp 7\Materials.
• Styles Style libraries can also be maintained locally or across a network. For net-
work setup, copy your Styles library to the server and then set the Styles directory
to that location. You can add new subfolders within the Styles folder to organize
components by type, or on a per-project basis, or both.
By default, the styles library directory is C:\Program Files\Google\Google
SketchUp 7\Styles.
NOTE If the computer you’re setting up is a laptop that is sometimes plugged into a file server
but is also used in the field or offline, be sure to have the files you need available on the local
hard drive so that you can direct SketchUp to the local folders when needed.
GENERAL PREFERENCES 5
GENER AL PREFERENCES
There are lots of options to modify in the General pane of the Preferences dialog—
some more helpful than others (Figure 1.7). We’ll touch on each
of them in this section.
Figure 1.7
Suggested
settings for
the General
preferences.
Saving
Create backup Those of you who work on a PC may have wondered about the dif-
ference between the .skp and .skb file extensions. And those of you who work on
Macs may have noticed that some of your SketchUp files include a tilde symbol (~) at
the end of the filename. Both the .skb files on the PC and the tilde (~) files on the
Mac are backups.
The Backup function in SketchUp is just an insurance policy. If something ever goes
sideways with your SketchUp model, you’re all set with a shiny new backup file. In
over six years of using SketchUp, I’ve been fortunate to have only ever needed to use
my backup file twice, but, man, was I psyched each time when that backup file
opened. In both instances, something had gone awry while SketchUp was trying to
save a rather large file, and the saved file became corrupted. After being corrupted, the
SketchUp model appeared to save and close like normal, but then the model wouldn’t
open back up. Despite the issues with the original model, the most current backup file
opened just fine. I would have lost about 10 hours of work in both cases.
A backup is created as soon as you save a file for the first time. Every subsequent save
automatically updates the backup file. If you delete the backup, a new one will be cre-
ated the next time you save. You’ll probably trash about 99.9 percent of your ~.skp/.skb
NOTE If files, but that 0.1 percent of the time you end up using a backup file makes it totally
SketchUp worth it.
crashes while you’re
working on a new, Auto-save Another little good-luck charm you can have in your back pocket is the
untitled file that has Auto-save feature, which kicks in when SketchUp crashes. By default, the Auto-save
yet to be officially feature is set to automatically save your model every 5 minutes. SketchUp keeps
saved, the autosave file a little timer running, and if you’ve neglected to save after working for 5 minutes,
will be saved to the
Auto-save will record the current state of the model, just in case. If SketchUp
default Files directory.
actually crashes, it will create a new file, which will be located in the same folder or
On a PC that directory
is My Documents directory as the original .skp file. The Auto-save filename will have the syntax
(unless you changed it Autosave_OriginalFilename.skp.
per the Files prefer-
If or when this scenario occurs, you’ll find that the autosaved file is typically the most
ences discussed earlier
in this chapter). On the current version of your SketchUp project. When you open the autosaved file, you
Mac the folder is User/ should do a Save As and rename the file without the Autosave prefi x.
Library/Application
As for setting the Auto-save frequency, I have my Auto-save preferences set to 2 min-
Support/Google
SketchUp 7/SketchUp/
utes (instead of 5). Why? I’m not a huge fan of having to doing stuff twice.
Autosave.
Workflow Tip: Save a Copy (at Least Once a Day)

When I’m working on a project over the course of a few days, weeks, or months, I try to
get in the habit of using Save As to create a version of the file for each day that I work
on the project (in some cases I might save a couple versions each day).
I’ve found that the following file-naming convention helps keep track of projects (espe-
cially when there’s more than one person getting their grubby hands on them).
Pattern: Date_Description_Version_Initials.skp
Example: 050609_SITE MODEL_01_MT.skp
The six-digit date code makes it easy to tell which files are the most current. The two-
digit version code lets you track multiple versions that may evolve over the course of
the same day.
And the initials stamp lets you know who to point fingers at when something goes
wrong.
NOTE Mac users: When you save a model in SketchUp, make sure you check the Custom Icon
check box (Figure 1.8). A custom icon can save you the trouble of having to open and close
files to figure out what’s in each model.
GENERAL PREFERENCES 7
Figure 1.8
Make sure to
check the Custom
Icon box in the
Save dialog.
TIP In some cases, you may even want to open old files and save and close them just so you
can create custom icons for them (Figure 1.9).
Figure 1.9 SketchUp’s default icon (left)

always looks the same, but a custom
icon (right) is like a mini-preview of your
file’s contents.
Check Models for Problems

Automatically checking models for problems is generally a good idea. When SketchUp
finds a problem, I prefer to approve the fi xing of said problems. It makes me feel like I
contributed to the solution. If you’d rather just have SketchUp do its thing, you can
check both boxes. To check the model for problems manually, you can choose
Window > Model Info > Fix problems.
Scenes and Styles

This is a good option to have turned on. In Chapter 8 we’ll dig into the options for
style changes when creating and updating scenes.
OPENGL
When it comes to SketchUp, it’s possible that OpenGL settings have been the source
of more performance questions about hardware specs than any other preference.
What Is OpenGL?
The term OpenGL stands for Open Graphics Library.
OpenGL plays a critical role in deciphering and displaying the graphical information
required for you to see a 3D computer model on your screen (instead of just a bunch
of illegible code). Wanna see your 3D model in perspective? Use Orbit, Pan, and
Zoom? Turn on the shadows? Toggle into and out of X-Ray mode? Apply sketchy
edge styles? Or apply an image texture to a surface? Well, you’re gonna need OpenGL
for all of that, as well as for anything else you do in SketchUp that you would expect to
be able to see on your screen.
What’s It Got to Do with You?

Well, for starters, it certainly helps if your computer is capable of using OpenGL to
translate the information it’s getting from SketchUp so that it can properly display
your model on your computer screen. If there’s a breakdown in the communication
pipeline between SketchUp and OpenGL, any of a number of screwy things might
happen in SketchUp:
• You may notice shadow relics that follow the cursor or SketchUp model when you
draw, orbit, etc.
• The drawing cursor might be replaced with white boxes, instead of mimicking
the Tool icons.
• Surfaces might not render at all.
• SketchUp will be slow to respond to commands and will feel clunky.
How Do You Avoid an OpenGL Breakdown?

First off, your best protection is to have a computer with a graphics card or graphics
processor that is OpenGL compliant. If you bought your computer in this millen-
nium, it probably supports some form of OpenGL, but that alone may not be good
enough. You need to meet SketchUp’s minimum hardware requirements (see the
URL below for details), and you need to make sure you have the most current driver
OPENGL 9
for your graphics processor. Second, you’ll want to make sure you’ve got the most
up-to-date OpenGL graphics card drivers installed. (As of this book’s publication date,
OpenGL is in version 3.1.)
Hardware Requirements
Check out this page on the SketchUp Web site for the minimum hardware requirements
for SketchUp and a list of recommended hardware upgrades:
http://sketchup.google.com/support/bin/answer.py?answer=36208&cbid=
1rzs4r4c9csiw&src=cb&lev=answer.
On Mac systems, the OpenGL updates are typically included with operating system
updates.
PC users should check their system profiles to get the make and model info about their
graphics card (Figure 1.10). Equipped with that info, it’s possible to download and
install the latest OpenGL drivers from your graphics card manufacturer’s Web site.
Figure 1.10 PC users can find information about their graphics card
and graphics drivers by going to System Properties > Hardware >
Device Manager > Display adapters.
If for some reason your computer has a graphics card or graphics chip set that cannot
support OpenGL, you have a few options:
• Use it as an excuse to get a new computer.
• Get a new graphics card (typically not an option for Macs).
• Uncheck these options in the OpenGL preferences pane (Figure 1.11 on the next
page): “Use Hardware acceleration,” “Use maximum texture size,” and “Use fast
feedback.”
Figure 1.11
Suggested
settings for
default OpenGL
preferences.
Use Hardware acceleration This option is useful for speeding things up only if
your computer’s graphics card or chip set is OpenGL compliant.
Use maximum texture size This option directs SketchUp to display the maximum
allowable image resolution for the image-based textures that have been imported into
the model, which may cause SketchUp to run a bit slower than it would otherwise.
You’ll probably have this turned off most of the time when you’re working, but you
might turn this option on for presentations and renderings.
Use fast feedback This option is also useful for speeding things up if your comput-
er’s graphics card or chip set is OpenGL compliant.
Reverse Driver Picking Bug (PC only) The driver-picking bug presents itself
when the computer’s graphics card is not OpenGL compliant. The most common
symptom of the bug is when the Select tool picks an object behind one that you click
rather than selecting what you clicked. In most cases, turning this option on will help
fi x that bug.
Taking the preceding into account, even the best graphics cards—with totally up-to-
date drivers—have their limitations. Because SketchUp requires OpenGL to translate
information, and since your computer’s graphics card is often the hardware that
SketchUp uses to facilitate that process, it’s not very hard to reach the threshold at
which your graphics card’s little brain starts freaking out. The following graphics dis-
play factors contribute to the speed with which OpenGL can keep up with you as
you’re working in SketchUp:
SHORTCUTS 11
• The number of polygons being displayed on the screen

• Whether there are any colors or image textures applied to the surfaces in the model
• Whether any artistic display styles are applied to the model
• Whether the shadows are turned on in the model
In short, the more information you require OpenGL to process, and the bigger the
burden you place on your system’s graphics card, the slower SketchUp will be to
respond. Throughout this book, we’ll look at ways to better manage and mitigate the
graphical stuff so you can work faster without having to sacrifice all the fun of
SketchUp’s great rendering options.
To check out all the geeky details about OpenGL, a thorough history, and more, visit the
OpenGL Wikipedia page: http://en.wikipedia.org/wiki/OpenGL#Post_OpenGL_3.1.
SHORTCUTS
Setting, learning, and using keyboard shortcuts can greatly increase the speed with
which you’re able to work in any program, including SketchUp.
To find the default keyboard shortcut for a tool, just hover your cursor over the icon in
the toolbar, and if the tool has a shortcut assigned to it, the shortcut will appear in
brackets next to the tool name when the tool name pops up.
The default shortcuts are also listed on the SketchUp Quick Reference Card. You can
view or download the quick-reference cards for both the PC and Mac versions of
SketchUp here:
http://sketchup.google.com/support/bin/answer.py?hl=en&answer=116693
Setting Custom Shortcuts

Keyboard shortcuts in SketchUp can be assigned as a single letter (M for Move, for
example) or as a letter plus modifier key(s) (such as Shift+M or Ctrl+Shift+M for
Move). Shortcut combinations can’t contain more than one letter, so MOV wouldn’t
be an option for Move, for example.
Shortcuts are more effective when they’re intuitive and easy to remember, so if the
default shortcuts don’t make sense, or if you’re a Photoshop user and you find yourself
consistently pressing the V key expecting to activate the Select tool, don’t hesitate to
change your SketchUp shortcuts so that they work the way you work.
To set a new keyboard shortcut on a Mac or PC:

1. All the tools and commands that can have a keyboard shortcut are listed in the
window and arranged alphabetically by main menu heading. You can use the
search field to narrow the list. For example, type Select to locate the Select tool
(Figure 1.12 on the next page).
2. Select the tool in the list that you want to (re)assign (such as Tools/Select).
Figure 1.12 You can

search or browse
1
for commands for
which to set keyboard
shortcuts, and then
type keyboard com- 2
binations you want to
use (Mac).
3. Type the keyboard letter you would like to use into the Shortcut field (the letter V,
for example).
4. (PC only) Make sure that you click the + button to assign the keyboard shortcut
(Figure 1.13).
Figure 1.13 It takes

a few additional
steps to save a key- 1
board shortcut in the
Windows version of
3 4
SketchUp.
5. (PC only) Click OK to save your new preferences.

Congrats! At this point you could use the V key to call up the Select tool.
SHORTCUTS 13
Keyboard Shortcut Suggestions

Table 1.1 shows my own list of preferred keyboard shortcuts. This is a mixed bag that
includes some shortcuts that I learned by using other programs. For example, in
Photoshop V is the Select tool and N is the Rectangle Marquee. Some others make
more sense to me than the defaults (such as R for Rotate), and some are based on keys
Table 1.1 Recommended SketchUp Keyboard Shortcuts

Key combination* Command Key combination* Command
Q Push/Pull Cmd+G Make Group
W Walk H Pan
E Erase Shift+H Hide Rest of Model
Shift+E Hide Cmd+Shift+H Unhide All
Opt+E Soften Smooth L Line
R Rotate Z Zoom
Shift+R Protractor Shift+Z Zoom Window
T Text X X-Ray View
Shift+T 3D Text Cmd+X Cut
Y Look Around C Circle
I Intersect with Model Cmd +C Copy
Shift+I Interact with Model V Select
Cmd+I Entity Info Cmd+V Paste
O Offset Opt+Shift+V Paste In Place
Cmd+O Open N Rectangle
P Paint Bucket M Move
A Arc Cmd+1 Top View
Shift+A Axes Cmd+2 Bottom View
Cmd+A Select All Cmd+3 Front View
Cmd+Shift+A Select None Cmd+4 Back View
S Scale Cmd+5 Left View
Cmd+S Save Cmd+6 Right View
D Tape Measure Right Arrow Lock Red Axis
Shift+D Dimension Up Arrow Lock Blue Axis
F Follow-Me Left Arrow Lock Green Axis
G Orbit Down Arrow Lock Blue Axis
Shift+G Make Component
* Opt (Option) and Cmd (Command) are Mac keys. The Windows equivalents are Alt and Ctrl.
that are more conveniently located on the keyboard (such as Q for Push/Pull). Note
that my list is ordered to follow the arrangement of keys on a QWERTY keyboard.
Review the list to find the tools you use most often, and set keyboard shortcuts for
them. A great way to learn the shortcuts is to pick one or two tools per day and chal-
lenge yourself to use only the keyboard shortcut to invoke that tool.
Importing and Exporting Shortcuts

Setting up office-wide standards for keyboard shortcuts can help bring new SketchUp
users up to speed more quickly and make it possible for anyone to work efficiently on
any computer in the office.
Once you’ve agreed upon an office-wide list of keyboard shortcuts, you can program
them on one machine and then simply transfer them to all the other computers in
the office.
Shortcuts can be transferred from one PC to another or one Mac to another, but they
can’t be transferred from a Mac to a PC, or vice versa.
To copy shortcuts from one PC to another:
1. Click the Export button in the Preferences > Shortcuts window to save the pref-
erences as a .dat file (Figure 1.14). You might consider giving the file a name such
as YourOfficeName.dat.
Figure 1.14
Exporting short-
cuts is a two-step
process in the
Windows version
of SketchUp.
3 1 4
2. Transfer the .dat file to any other PC (copy it over a network or via a flash drive,
or e-mail it—it doesn’t matter).
TEMPLATE 15
3. On the other PC, click the Import button in the Preferences > Shortcuts window
to import the YourOfficeName.dat file.
4. Click OK to close the Preferences > Shortcuts window. The new shortcuts
should be ready to go.
To copy shortcuts from one Mac to another:
1. Locate the Shortcuts.plist file on the Mac you’ve set up with custom shortcuts.
The file is located in Users/User/Library/Application Support/Google SketchUp 7/
SketchUp/Shortcuts.plist.
2. Copy the .plist file to the same location on any other Mac.
3. Restart SketchUp on the Mac to which you copied the .plist file, and then
SketchUp will load the new shortcuts.
For more information about setting up keyboard shortcuts, check out Episode 10 of
The SketchUp Show: “Setting Keyboard Shortcuts and Working with Large Files”
online at www.go-2-school.com/Real-World-Google-SketchUp-7.
TEMPLATE
The template is the file that opens up each time you start a SketchUp project. A num-
ber of preconfigured templates are included, and you can choose the one that best fits
the types of projects you typically work on (Figure 1.15). To change your template,
simply click the one you’d like to work with, close the Preferences window, and then
open a new SketchUp file.
Figure 1.15
The Template
preferences pane.
In addition to the default template library, you can save any SketchUp file as a custom
template.
There are so many things you can customize for each template that the topic deserves
its own chapter—so we gave it one, and it’s coming up next.
WORKSPACE
SketchUp v7.1 has a new pane in the Preferences window, the Workspace pane
(Figure 1.16). This pane has most of the settings that let you manage your work-
spaces efficiently. But before we review the options available in the Workspace pane,
I’ll show you my preferred screen arrangement and give Mac users a tip on saving
custom workspaces.
Figure 1.16
The Workspace
preferences pane.
Tool Palette
The “Use large tool buttons” option is useful if you actually use the Tool palette. If
you’ve got a small screen, typically use keyboard shortcuts, or have eyes like a hawk,
then you may prefer to uncheck this setting.
Main Window
This option applies only to Mac users. But it’s a good one, so hopefully you Mac folks
are paying attention. By default, the Mac version of SketchUp is set up so that when
you open a new SketchUp file, the default size of the Drawing window is 800 pixels
by 600 pixels. The bigger your drawing window, the better. To set SketchUp so that
each drawing window will open full screen, follow these steps (Figure 1.16 and 1.17):
WORKSPACE 17
1. Pull the main toolbar in from the side of the screen.

2. Pull any dialog windows in from the side of the screen.
3. Maximize the drawing window by clicking the little green circle in the top-left
corner.
4. Click the “Save current window size” button in Preferences > Workspace
(Figure 1.16).
Figure 1.17 Pull in toolbars and

3
dialogs, and then click the green
Zoom button to maximize the
1 2 drawing window.
Workspace
It’s commonplace nowadays to find yourself in a situation where you need to switch
up your workspace and/or display settings on the fly. It’s possible, when modifying
your display settings, that some of your windows and/or toolbars may disappear dur-
ing the switch, such as in the following two situations:
• If you’re working on a high-resolution display with windows and/or toolbars out
at the far edge of the screen and you switch to a lower-resolution setting
• If you switch from a dual-monitor setup—with windows and/or toolbars located
on the secondary display—to a single display setup
• If, for whatever reason, you think you have have lost one or more of your win-
dows, you can use the Reset Workspace button to bring everything back into view.
19
chapter
two
Creating Custom Templates
Whenever you start a new project, SketchUp creates a new, untitled file by
creating a duplicate of whichever template you’ve selected as the default.
As mentioned at the end of the previous chapter, you can set or change the
default template by selecting from the list located in SketchUp Preferences >
Templates. (In case you're wondering, the examples in this book were created
using the “Beginning Training Template - Inches” template.)
You’ll probably find that a number of templates seem to work pretty well for
the kind of work you do, or plan to do, in SketchUp. Over time, however, it is
likely that you will refine the types of projects that you work on, and the ways
in which you work on them.
If you’ve ever been working on a project and thought to yourself, “What were
the animation settings I used on that project a couple weeks back?” or “What
were those dimension settings I had figured out for that last project?” you’ll
be happy to know that you can largely avoid those types of investigations. You
just have to take the time to set up your own custom template.
Creating a custom template doesn’t have to be a lengthy process. In fact, if
you currently use either of the Architectural Design templates and you’re tired
of seeing Sang standing in the middle of the screen every time you open a
new model, grab the Eraser tool and erase him ( just as usual). Then choose
File > Save as Template. Check the Save as Default Template box to start a
new life sans Sang.
20 CHAPTER 2: CREATING CUSTOM TEMPLATES
Perhaps the most important concept that you should take away from this chapter is
that a template can be anything from a blank screen to an entire scene with buildings
and cars and people. The template files are just like any other SketchUp model; the
only difference is that template files are stored in the Templates folder on your com-
puter’s hard drive. On a Mac, the Templates folder is located at Main HD/Users/User/
Library/Application Support/Google SketchUp 7/SketchUp/Templates. On a PC, the
Templates folder is located at C:\Program Files\Google\Google SketchUp 7\Resources\
en-US\Templates.
While bidding adieu to Sang might have given you a bit of instant gratification, you
should pause to think a bit before you go nuts creating new templates. If you work in a
collaborative professional environment, templates can be a great quality control mea-
sure that you’ll want to employ with forethought and care. The purpose of this chapter
is to help you determine how to use templates intelligently in your own work environ-
ment. You may decide that your workflow could benefit from a handful of custom
templates for different types of projects, or for different departments in your office
that may use SketchUp at different stages of typical projects. We’ll take a tour through
some of the most popular options that you should think about when setting up a tem-
plate for yourself or for your office.
MODEL INFO
The Model Info dialog contains some basic settings that are likely to be common to
many of your models, so it’s a good place to start tweaking your templates. You can
open the Model Info window by choosing the sensibly located menu option
Window > Model Info.
Just about everything you tinker with in the Model Info window can be saved as a
part of your SketchUp template.
Animation
The Animation settings determine the scene transitions and scene delays during an
animated playback of whichever scenes you’ve configured in your SketchUp model.
The default settings are all right, but for most fly-through type animations you may be
more likely to use a scene transition of around 4 seconds and a scene delay of 0 sec-
onds (Figure 2.1).
MODEL INFO 21
Figure 2.1
Animation
settings can
affect the timing
for transitions
and delays
between scenes.
Components
In the previous chapter we explored the setup and use of keyboard shortcuts (see
“Shortcuts” in Chapter 1). One of the recommended shortcuts was for the command
View > Component Edit > Hide Rest of Model. Notice the check box highlighted in
Figure 2.2: That check box controls the same option. When editing a group or compo-
nent instance in the model, you can use the slider to control how faded you want the
rest of the model to look. If you check Hide, everything in the model, aside from the
group or component that you are editing, will disappear. As soon as you close the
component or uncheck the box, the rest of the model will reappear.
Figure 2.2
Component
settings can alter
the way a model
is displayed
while in Edit
Component or
Edit Group mode.
Credits
NOTE For quick Disclaimer: Information entered into the Credits pane won’t be saved as part of
access to the your template, but since we’re here, it’s worth a few words.
Credits dialog, there is
a shortcut icon The Credits feature (Figure 2.3) allows you to claim authorship of a SketchUp
located in the bottom- model and also lets you see who else might have contributed to a project. You
left corner of the must be connected to the Internet to utilize this feature. If you’re online, you can
SketchUp window. claim credit for a model by inputting your Google ID (Gmail address and pass-
Clicking this icon gets word). The authorship information will stay with the model as it changes hands
you right back to
throughout a project, and the authorship information is automatically transported
where you can take as
much (or as little) when models are uploaded to and from the Google 3D Warehouse. Any other
credit as you want. modelers who manage to get their grubby little hands on your file will have a
chance to add their names to the author list if they make a revision to the file.
You’ll notice that the author names of SketchUp modelers will appear when you
download components from the Warehouse and add them to your projects. It’s
actually a cool feature for being able to figure out who to call when the model
goes sideways (but it’s also a good thing to keep in mind before telling someone
about your “original” masterpiece).
Figure 2.3
SketchUp 7
allows users to
assign authorship
credits to their
models.
Dimensions
Dimensions settings (Figure 2.4) can be a real pain to switch around halfway
through a project, especially if you’ve already added a bunch of dimension strings
to your project. For example, if you’ve laid out a series of dimensions in such a
way that the spacing between the strings works great with a 12-point font and
MODEL INFO 23
dimensions aligned to the screen, you may have to go back and adjust the position of
all the strings if you later decide to use a 14-point font with dimensions aligned to the
dimension lines. Changing from dots to slashes may cause a ripple effect of having to
change the font size and so on down the line.
Before you set your template preferences, think for a minute about whether you’ll be
more likely to use dimensions in elevation and plan views of your models, or whether
you prefer to add dimensions while in perspective views. These two alternatives are
likely the basis for a few options that you have for customizing your dimensions
settings.
Figure 2.4
The Dimensions
settings pane.
The Expert Dimension Settings tab is great for models with dimension strings that TIP To learn the
have been drawn for multiple views of the model. basics of using
SketchUp’s Dimensions
I suggest enabling both the “Show radius/diam prefi x” and “Hide when foreshortened” feature, watch this
options, as shown in Figure 2.5. online video tutorial:
www.youtube.com/
Figure 2.5 watch?v=xKLc3hb9Crk.
The expert
dimension
settings.
File
The information and options in the File pane (Figure 2.6) are a bit more relevant
when you’re working with component files than when setting up templates. For that
reason, we’ll look more closely at these options in Chapter 8, “Mastering
Components.”
Figure 2.6
File settings.
Location
Boulder, Colorado is set as the default location for all the templates that come bundled
with SketchUp. The reason (in case you didn’t already know) is that Boulder is the
gravitational center of the (SketchUp) universe. It’s also the city where a couple of
dudes named Brad Schell and Joe Esch co-founded @Last software, the company that
originally developed SketchUp, prior to Google’s subsequent acquisition. Despite
Google’s acquisition, the SketchUp (and Layout and 3D Warehouse) development teams
have remained in Boulder, as has the default location for SketchUp model templates.
You could leave the default location alone (Figure 2.7), but setting the location of
your SketchUp model influences a number of aspects of your model, including the
path that the sun travels while casting shadows. It also determines where a model
shows up when it’s exported to Google Earth. For those reasons you may be inclined
to set the default location to a city where your projects are likely to be located. For
example, since I live and work in Southern California, I have my default template loca-
tion set to Los Angeles.
MODEL INFO 25
Figure 2.7
You can set a
default location
for your template
by changing the
Location settings.
There are a number of ways to set a new default location for your template.
1. Select the Country and Location (city) from the drop-down menu lists. SketchUp
will determine the Latitude and Longitude coordinates based on the geographical
center of whichever city you pick from the list (Figure 2.8).
Figure 2.8 SketchUp has a fairly comprehensive list of Figure 2.9 You can enter specific site location information
countries and cities to set as your model’s location. for a project.
2. Click the Custom Location button, and enter specific latitude and longitude NOTE For
coordinates for your location (Figure 2.9). quick access to
the location settings,
3. If you have Google Earth open, search for a specific location and then import it click the Georeferenc-
into SketchUp using the Get Current View tool . SketchUp will register the ing icon in the
latitude and longitude coordinates from the center of your view in Google Earth bottom-left corner of
(Figure 2.10 on the next page). your drawing window.
Figure 2.10
When you geo-
reference your
model to a spe-
cific location in
Google Earth,
the location fields
will read “N/A,”
but the Latitude
and Longitude
coordinates will
be on point.
Rendering
SketchUp 7 introduced a new rendering option (Figure 2.11) for displaying anti-
aliased textures that, depending on your graphics card, may not only improve the way
textures look, but might also improve performance. Unless you notice a significant
degradation in performance, I’d recommend leaving this option turned on.
Figure 2.11
Rendering
settings.
Statistics
As its name suggests, the Statistics pane (Figure 2.12) displays a list of stats about your
model. One of the most common stats you’ll hear people refer to is the polygon (face)
count of a model. The “Purge unused” button in the Statistics pane will purge the
entire model of any unused components, materials, styles, and layers. It’s a great option
for reducing the file size of a model before sharing it, but you may find that any
unused components, materials, or styles (as well as any unused layers) in your In
Model Components library might also end up being purged—so make sure you’re not
throwing away things you or your colleagues will need later.
MODEL INFO 27
Figure 2.12
Here are the stats
for one of the
larger projects
I’ve worked on.
Text
The Text pane (Figure 2.13) lets you control the default appearance of floating text,
leader text, and leader lines by establishing preferences for the font, size, and color of
your text objects. Click the Fonts button to choose a default font and size, and click
the color box to select a font color.
Once you’ve added text objects to your model, you can then use the Text preferences
pane to globally select and modify your text display preferences. To alter the appear-
ance of individual text objects, it’s probably more convenient to right-click them and
make changes via the Entity Info window.
Figure 2.13
Text settings.
NOTE To learn I’ve found that text preferences vary widely across a spectrum of professional standards
the basics of and personal tastes. For my projects, I’m a fan of 12-point Arial for onscreen text and
using SketchUp’s Text 14-point Arial for leader text. I also like using the Open Arrow style for end points,
tool, watch this online
and view-based leader lines. Those aren’t prescriptions—just my personal preferences.
video tutorial: www.
youtube.com/watch?v=
ClHdYWFczgU.
Units
The topic of units has come up in just about every SketchUp class I’ve taught over the
past five years. The most frequent question that leads to a conversation about units:
“How do you set the scale for your model?” The answer to that question is “You don’t
set a scale, you set the units.”
SketchUp understands a wide range of unit inputs, including both English and metric
units, as well as both fractional and decimal units. The Units pane (Figure 2.14) sim-
ply allows you to select the default units of measurement for your project.
Figure 2.14
Specify which
units of measure-
ment you want
to use for your
model in the
Units pane.
The units you choose for your SketchUp model will affect the following:
• The default unit of measurement for dimensions entered in the Measurements
box. For example, if the default units are set to Architectural (Inches) and you
specify the length of a line as simply “36,” the input will register as 36 inches. On
the other hand, if the default units are set to Decimal (Meters) and a length of 36
is entered, the input will register as 36 meters.
• The default unit of measurement for dimensions displayed in and entered into the
Entity Info window.
• The default unit of measurement displayed in any dimension strings throughout
the model.
• The unit of measurement displayed in the default text that appears when leader
text is drawn from On Face or On Edge inferences.
DEFAULT FIELD OF VIEW 29
The units will not affect the scale of your model, whether you draw a line and specify
a length of 3.28 feet, or whether you specify a length of 1 meter. The line will still be
the same length.
Since you have the ability to simply draw objects at their real-world size while working
in SketchUp, you don’t have to worry about a drawing scale (such as 1/4" = 1'0"). In
other words, if a table is 6 feet long, draw it in SketchUp as being 6 feet long. If a door
is 7 feet tall, make it 7 feet tall.
Should you ever need to print or export your SketchUp model to scale, you most cer-
tainly have that option. We’ll discuss exporting your SketchUp model to scale in
Chapter 10.
DEFAULT FIELD OF VIEW

The field of view for most of the default templates is set at either 30 or 35 degrees
(such as in Figure 2.15). The field of view determines the visible limits of the model,
based on the position of the camera in the model. The larger the degree angle, the
more you can see.
Figure 2.15
View of model with
30-degree field of
view.
The Walk tool is the only navigation tool in SketchUp with built-in collision detec-
tion, so setting a larger field of view angle may help avoid those times when you inad-
vertently find yourself having orbited into another room, or through a wall.
To change the field of view, you can either:

• Select the Zoom tool . Hold down the Shift key and then click and hold down
on the left (primary) mouse button while dragging the mouse to change the field
of view. Drag the mouse down to increase the field of view, or drag the mouse up
to decrease it.
• Select the Zoom tool . Type in the desired field of view angle followed by the
letters deg (like this: 45deg) and press Enter.
The bigger the field of view, the easier it’ll be to work on interiors and other small
spaces. You’ll probably find a field of view around 45 degrees (as in Figure 2.16) to be
much more accommodating.
For all you old-school CAD monkeys out there, if perspective isn’t your thing, you
could set the default model view to Parallel Projection mode, with the perspective
turned off. To turn off the perspective, go to Camera > Parallel Projection mode.
(Note: If you ever want to turn the Perspective view mode back on, go to Camera >
Perspective.)
Figure 2.16 View of

model with 45-degree
field of view. The cam-
era is located in the
same place here as it
is in Figure 2.15. The
larger Field of View
degree angle lets
you see more of the
model.
MORE TEMPLATE SET TINGS 31
MORE TEMPLATE SETTINGS

Here are more elements you should consider adding to your template. They are located
under a variety of SketchUp’s menus, not neatly gathered in one dialog like the Model
Info settings. Several of these options will be discussed in more depth in later chapters.
In Model Components
If you find yourself diving into the Components browser every time you feel like drop-
ping in your favorite model from the People folder (Walking_Woman_01, for example),
or if you have yet to create a model that doesn’t include your favorite 40-foot palm tree,
or if your national sales reps consistently need access to the same product catalog in
every SketchUp model, then you may consider dragging your “must-have” components
into the In Model Component library before saving your SketchUp template.
To add components to the In Model library:
1. Go to Window > Components to launch the component browser.
2. Click the Secondary Selection Pane icon in the top-right corner of the compo-
nent browser to open a secondary browser window.
3. Click the House icon above the primary browser window to open the In Model
library.
4. Use the secondary browser window to browse through libraries or search the 3D
Warehouse for components you want to add to your template.
5. When you find a component you want to keep, drag it from the secondary win-
dow and drop it in the primary window.
The upside to adding components to the In Model library is that your In Model
library will always contain your favorite components—even if your component librar-
ies suddenly evaporate or you have to go offline and do not have access to your file
server or the 3D Warehouse.
The potential downside is that all of your In Model components are automatically
embedded in every new SketchUp project file. Having too many In Model compo-
nents may unnecessarily increase the file size of some of your projects. If you later
decide to pare down the selection of components from the In Model library, you can
right-click any of the components listed in the component browser and choose Delete.
Then just resave your template and you’ll be good to go.
We’ll explore more advanced organization and use options for the component browser
later in Chapter 4.
Styles
The Styles palette is where you get to pick all sorts of settings pertaining to the way
your SketchUp models are rendered onscreen. Line widths, sky and ground colors,
NOTE Some watermarks, and numerous other color and display preferences are all housed in the
styles may
Styles palette. For now, just keep in mind that you can alter the appearance of the
include background
images, artistic line default style by going through and determining your preferences under each tab and
types, or other graphi- then clicking the Update Style icon in the Styles palette. Any changes will then be saved
cal elements that will as part of your custom template.
increase the file size. As
mentioned in the pre-
As is the case with components, you’ve also got the option to gather your favorite ren-
vious section, you may dering styles into the In Model folder of your Styles library. Once you save your tem-
want to consider purg- plate, any styles in the In Model library will be readily available for each new model
ing your files before that you start working on.
transmitting them. The
option found in Model
Info > Statistics > Layers
Purge Unused will get
rid of any unused In just about any office for which I’ve worked or consulted, layers and layer manage-
Styles. ment are a big deal in almost any program that has a layer function.
In Chapter 5 we’ll explore the utilization of layering conventions and gain a better
understanding of how to get the most out of what layers have to offer. For now, just
keep in mind that you can set up a standard list of layers for your models and save
them as a part of your template. Establishing a preset list of layers with which to work
will establish a framework and potentially avoid the kind of confusion and widespread
panic that ensue when people working together in an office or on a project make up a
new set of layers for each new project.
Generally speaking, when it comes to using layers in SketchUp, you’ll find they work a
bit differently than in other programs. You might intuitively want to be able to mimic
the same layers in SketchUp that you use in other CAD applications, but in most cases
it’s just not worth it. Chances are, you’ll be able to work more efficiently in SketchUp
if you create a list of layer names that describe the parts of the model being placed on
the corresponding layer. For example, if you typically add People to your SketchUp
Figure 2.17 A models, create a layer called People.
sample list of layers
for a typical two-story Figure 2.17 shows an example list of commonly used layers that you may want to
building. consider making a part of your SketchUp template.
MORE TEMPLATE SET TINGS 33
Shadow Settings
By now I’m guessing you get the idea:
Change a setting, and then save it as part of
your template. Of course this goes for the
Shadow settings. You can pick a date, time of
day, brightness of highlights (the Light slider,
with 1 being darkest and 100 brightest), and
darkness of shadows (the Dark slider, with 1
being darkest and 100 brightest). The follow-
ing are my preferred settings (as shown in
Figure 2.18):
• Time: 9 a.m. Figure 2.18 Suggested Shadow settings.
• Date: June 21
• Light: 85
• Darkness: 40
Scenes
Scenes are a whole big ball of fun and games,
so much so that we’ve got the entirety of
Chapter 9 set aside to get into all sorts of trou-
ble. For now, I just wanted to mention that
scenes are another thing you can put on your
list of things to consider saving as part of your
templates.
You can use scenes to save views with different
camera locations, visible layers, active section
planes, styles, shadows, and more
(Figure 2.19). Saving scenes as part of your
template is probably more beneficial if you
find yourself needing to re-create the same
standard views for your presentations. For
example, I’ve helped a number of interior Figure 2.19 The Scenes dialog.
designers and kitchen and bath professionals
create templates that include preconfigured
views for creating a series of interior elevations.
35
chapter
three
SketchUp Extensions
As with Photoshop, AutoCAD, and many other programs, third parties (and
Google) have extended SketchUp’s capabilities with add-ons. These exten-
sions do a multitude of things, but this chapter focuses on a selection of addi-
tional tools for integrating SketchUp more fully within a professional
workflow and expediting your work. In addition to profiling my top picks
among extensions, I’ll discuss how to install and enable them.
Extensions are typically lumped into one of two main categories: Ruby scripts
and plug-ins.
RUBY SCRIPTS
Ruby scripts are custom tools or functions that, in SketchUp, are program-
med to execute commands. The Ruby programming language originated in
1995 and in addition to being used to create scripts for SketchUp, is popular
for Web application development. A Ruby application programming interface
(API) was introduced as part of SketchUp version 4. Ruby scripts can be
created using a basic text editor, and they can be tested and debugged within
SketchUp using the Ruby Console (choose Window > Ruby Console).
Having some programming knowledge certainly helps when it comes to
creating your own Ruby scripts for SketchUp. For the avid and aspiring pro-
grammers among you, I’ve listed some great online resources for learning
Ruby scripting later in this chapter. Figure 3.2 (on the next page) shows the
Ruby Console, along with some code that provides a taste of the fun and
excitement of Ruby scripting. If you’re like me, and learning Ruby just never
seems to make it to the top of the to-do list, you’ll be glad to know that
36 CHAPTER 3: SKETCHUP EXTENSIONS
there’s an incredible community of Ruby programmers who have already written

hundreds of scripts for you to use.
If you want to tinker with some rudi-
mentary Ruby scripting, try typing the
following line into the Ruby Console:
UI.messagebox("PeachPit told me to!")
<Enter> (Figure 3.1).
Here’s another super-easy script to try. Figure 3.1 The results of a simple Ruby
Type the following lines into the Ruby script.
Console (Figure 3.2):
pt1 = [0, 0, 0] <Enter>
pt2 = [15, 15, 15] <Enter>
model = Sketchup.active_model <Enter>
model.entities.add_line(pt1, pt2) <Enter>
Figure 3.2
The SketchUp Ruby
Console.
Where to Find Ruby Scripts

If you think SketchUp is perfect just the way it is, you’re welcome to skip through to
Chapter 4. But if you’re like the rest of us, you’ve probably encountered a time when
you were working on a project and thought to yourself, “SketchUp would be way
cooler if only there was an easy way to draw x (a two-point circle, for example).” Well,
as it turns out, you can—but only after you download and install the Two-Point Circle
Ruby script.
I think it was Captain Obvious who once declared “Google it!” A Google search for
“2ptCircle Ruby” will lead you right to the Web site from which you can download
the script. The search approach works particularly well if you already know the exact
name of the tool you’re looking for, but perhaps less well if you’re searching with only
a vague idea of what a script might be called or what kind of function it might
perform.
RUBY SCRIPTS 37
If you have nothing in mind more specific than a sense that there should be a better
way to draw circles in SketchUp, you may have better luck browsing through a catalog
of scripts in hopes of finding one that does the trick. Below is a list of my favorite sites
for finding Ruby scripts; visiting any of them will repay the time you spend browsing
by a factor of ten, thanks to the time-saving tools you’ll find. I’ve bookmarked them
and/or subscribed to their RSS feeds, so I’m alerted anytime a new script is posted.
Among these sites you’ll find both free and pay-per-download scripts. Some of the sites
have such large inventories of scripts that it can make your head spin. If you want to
just dip a toe into Ruby scripts, start at the top of this list—the selection gets broader
and deeper as you go down.
• Google SketchUp Web Site
http://sketchup.google.com/download/rubyscripts.html
The Ruby Scripts page in the Downloads section of the SketchUp Web site
includes a small selection of free Ruby scripts.
• Smustard www.smustard.com
This site contains a long list of professional-grade scripts; site creator Todd Burch
and his colleagues are among the most talented and prolific Ruby script program-
mers in the world. Some of the scripts are free; some cost money. Any dollars
spent here will be well worth the investment.
• Ruby Library Depot www.crai.archi.fr/RubyLibraryDepot
Didier Bur’s marvelous contributions to the SketchUp/Ruby community not only
include a number of fantastic scripts, but also this great site, which contains hun-
dreds of free scripts. What the 3D Warehouse is to components, the Ruby Library
Depot is to Rubies.
• SketchUcation Extensions Index www.sketchucation.com/extensions-index
The SketchUcation Web site has a page with an indexed list of extensions that
span a number of smaller Ruby script download sites.
How to Install Rubies

Ruby scripts can be installed simply by placing the downloaded file ScriptName.rb into
SketchUp’s Plugins folder. Some scripts may also require you to place additional files
or folders associated with the script (such as toolbar icons) into the Plugins folder. On
a PC, the Plugins folder is located at C:\Program Files\Google\Google SketchUp 7\
Plugins. On a Mac, the Plugins folder is located at Mac HD/Library/Application
Support/Google SketchUp 7/SketchUp/Plugins.
Special Instructions
Un-Zip It: Some scripts are downloadable as .zip archives. I’ll typically download zipped
files to my desktop or downloads folder, unzip them, and then move the files to the
Plugins folder (see path descriptions above).
Tools vs Plugins: When downloading a script, check the script’s Web page for any spe-
cial installation instructions. On rare occasions you may be required to place the scripts
into the Tools folder—rather than the Plugins folder.
Dependency Issues: In some cases you may find a script that requires other scripts in
order to work properly. Information about special dependencies is typically mentioned
on the Web page from which you download the script.
NOTE In some The most efficient way to install Ruby scripts is to right-click (for Macs, Control-click)
cases, you may the download link and choose Save Target As (PC) or Download Linked File As (Mac).
need to activate the Then save the .rb file directly to the Plugins folder (per the preceding directions).
scripts or plug-ins in
the Extensions prefer- Once the scripts have been saved to the Plugins folder, you’ll need to relaunch
ences pane in order for SketchUp. Any tools located in the Plugins folder will automatically load when the
the tools to show up in program launches.
the menus. For exam-
ple, the Sandbox tools The new tools and commands for a script might show up in any one of the following
are a collection of SketchUp menus: Edit, View, Camera, Draw, Tools, Plugins, or contextual menu
Ruby scripts that are (right-click). Some scripts might even include their own toolbars that can be turned
installed automatically on by going to View > Toolbars.
as part of Google
SketchUp 7, but they Most Rubies will also appear in the Shortcuts list, so if you’ve downloaded a script that
won’t show up in the you think you’ll use fairly often, you might consider assigning a keyboard shortcut for
View > Toolbars menu it (see “Shortcuts” in Chapter 1 for instructions).
until they’re enabled in
the Extensions pane.
Developer Resources
There is no shortage of Ruby programming resources available for learning to create
your own scripts. Here are some good places to start that adventure:
• Google SketchUp Ruby API: http://code.google.com/apis/sketchup
• Google SketchUp Developers Discussion Group:
http://groups.google.com/group/google-sketchup-developers
• Ruby: Visual QuickStart Guide (Larry Ullman, Peachpit Press, 2008)
PLUGINS 39
PLUG-INS
Plug-ins help to both improve SketchUp’s interoperability with other applications and
expand the kinds of output you can generate from SketchUp. Many plug-ins are cre-
ated by software developers who want their applications to work well with SketchUp.
On the other hand, some plug-ins exist just to extend the capabilities of SketchUp, such
as IDX Renditioner (Figure 3.3). It lets users generate photorealistic renderings directly
within SketchUp, increasing the number of available output formats and potentially
saving the time required to export models for rendering in another application.
Figure 3.3 Rendering comparison between standard SketchUp output (left) and a rendering that was created using the
IDX Renditioner plug-in (right).
Where to Find Plug-Ins

Google SketchUp Web site http://sketchup.google.com/download/plugins.html NOTE Don’t
overlook the
The SketchUp Web site includes a pretty thorough rundown of available SketchUp “Plugins for older ver-
plug-ins. Almost all the links on the SketchUp site will send you to the software com- sions of SketchUp” link
pany that developed the plug-in. on the SketchUp site,
which takes you to this
Other software developer Web sites site: http://sketchup.
google.com/download/
As I write this, there are currently 22 different plug-ins for SketchUp that enable the previousplugins.html.
program to integrate with other applications. A few noteworthy plug-ins include: There you’ll find older
but still useful tools
• IES VE Energy Analysis Plug-In: www.iesve.com/sketchup
such as the Film &
• Photoshop CS3 Extended: http://labs.adobe.com/downloads Stage plug-in.
• Maxwell Render: www.maxwellrender.com/plugins/sketchup

Many of these sites provide a bunch of great resources, such as additional plug-ins as
well as reference manuals and video tutorials.
How to Install Plug-Ins

Installing plug-ins is usually easier than installing Ruby scripts, since most SketchUp
plug-ins are downloaded as .exe (PC) or .dmg (Mac) installer files. Once you’ve run
through the installers and followed the onscreen instructions, you may find that new
features may have been added to SketchUp (or to whichever other application the
plug-in was designed for).
After installing the plug-in, you’ll need to restart SketchUp and then check the Exten-
sions preferences pane to make sure that the installed plug-in is enabled (Figure 3.4).
Figure 3.4
The Extensions
pane of SketchUp
Preferences.
Check to make
sure that installed
plug-ins and
Ruby scripts are
enabled.
Developer Resources
If you’re so inclined, you can develop Google SketchUp plug-ins using the Ruby API
and/or the Google SketchUp C++ Software Development Kit (SDK), which can be
downloaded from the following site: http://code.google.com/apis/sketchup/docs/
downloadsdksubmit.html.
The Google SketchUp Developers Discussion Group is another valuable resource for
learning and getting support for your plug-in development endeavors: http://groups.
google.com/group/google-sketchup-developers.
TOP 10 EXTENSIONS 41
TOP 10 EXTENSIONS
Narrowing down the 60 or so scripts in my Plugins folder wasn’t easy (this could have
easily been a top 30 list), but the following are the plug-ins and Ruby scripts that I
think deliver the most bang for the buck (especially considering that most of them are
free!).
1. Deselect Look in the Selection section of www.crai.archi.fr/RubyLibraryDepot.
This tool lets you modify a selection set by selecting or deselecting edges or faces.
For example, if you want to select all the edges within a component so that you
could hide them, you could choose Select All, and then right-click and choose the
Deselect Faces option. You’ll be left with all the edges selected and then you can
choose Edit > Hide.
2. Profile Builder www.smustard.com
The script includes a massive library of professional profiles for finish carpenters,
structural engineers, interior designers, and builders. It improves on the basic
functions of the Follow-Me tool for creating profile-based extrusions. For exam-
ple, it allows you to go back and edit the original path or profile of an extrusion,
even after you’ve extruded the profile.
3. IDX Renditioner www.idx-design.com
This easy-to-learn toolset allows SketchUp users to create photorealistic render-
ings of their models directly within SketchUp. IDX Renditioner includes func-
tionality for adding different types of lights, and includes material-rendering
options for reflectivity, and bump maps.
4. Tools on Surface v1.3 Search http://forums.sketchucation.com.
Tools on Surface is a set of tools that, among other things, allows you to draw
primitive shapes directly onto curved surfaces. For example, with the Tools on
Surface Rectangle tool you can draw a rectangle directly onto a contoured land-
scape surface. Great for landscape design, product design, and character modeling.
5. Simplify Contours http://sketchup.google.com/download/rubyscripts.html
When you import contour line drawings that were executed in other CAD appli-
cations, SketchUp will probably convert the polyspline contours into polylines
that contain hundreds or even thousands of straight-line segments. This script
reduces the number of edge segments that make up the contour lines, which in
turn reduces the overall file size and also makes it easier to work with the con-
tours in SketchUp.
6. Subdivide and Smooth www.smustard.com

This is a jaw-dropping series of tools for creating organic shapes and structures.
7. Rotated Rectangle http://sketchup.google.com/download/rubyscripts.html
This drawing command enables you to draw a rectangle by first drawing the
length (at any angle) and then the width. It’s a great option for tracing sections of
CAD plans and satellite imagery where buildings or parts of buildings don’t align
to the axes.
8. Stray Lines www.smustard.com
Label, Select, Delete, or Show all the open-ended line segments in a drawing.
This is an excellent script for assessing how much cleaning up an imported CAD
drawing will need.
9. Shape Bender Search http://forums.sketchucation.com.
Have you ever needed to create a curved sign (including 3D text)? I guarantee it
will be easier with this tool than with any other method you’ve tried.
10. Open Studio http://apps1.eere.energy.gov/buildings/energyplus/openstudio.cfm
Open Studio is a set of tools for assigning information to objects and entities in
your SketchUp models, so you can run building performance simulations and
energy analyses.
11. FreeScale (OK, so I couldn’t resist just one more.)
Search http://forums.sketchucation.com.
Ever tried to scale an object that isn’t aligned to the axes? Among other things, the
FreeScale toolbar includes a scale function that does not discriminate based on an
object’s orientation.
43
chapter
four
Importing SketchUp Files
You can spend less time drawing and more time designing by downloading
models that are already available. This is especially helpful for adding the kinds
of set dressing and detail to your model that would otherwise be incredibly
time consuming to create from scratch. The best single source is the Google
3D Warehouse, which, in addition to being the world’s largest online reposi-
tory of 3D content, is extremely well integrated into SketchUp. Use the
Google 3D Warehouse to quickly search for models of just about anything
you can think of—such as people, trees, cars, furniture, and so much more—
and download models from the Web directly into SketchUp. In this chapter
I’ll help you find what you need quickly with targeted searches and explain
your options for pulling models into an existing project.
BASIC SKETCHUP FILE IMPORTING

The basic method of importing SketchUp models is the foundation for every-
thing else I’ll discuss in this chapter. As you’ll see, there are other methods
you can use to import SketchUp files into a project, but this basic option is
still the best for projects such as assembling larger site models.
To import one SketchUp model into another, choose File > Import.
Then select the file Format option for SketchUp. Locate the SketchUp model
you’d like to import in the file browser and then click the Import button
44 CHAPTER 4: IMPORTING SKETCHUP FILES
Figure 4.1
The File Import
dialog.
Once you click the Import button, SketchUp will automatically activate the Move tool
. The imported model will appear in the drawing window and it will be attached to
the cursor. There’s a name for the point at which the cursor has a hold of the model
being imported: It’s called the insertion point.
The position of the insertion point of a model corresponds to the position of the axis
origin within the model being imported (Figure 4.2).
Figure 4.2
Relationship between
the axis origin and
insertion point for an
imported SketchUp
model.
USING THE COMPONENT BROWSER 45
NOTE You can import SketchUp models into your drawing window by dragging them from an
open file folder and dropping them into whatever project you’re working on (Figure 4.3).
Figure 4.3 You can

import files from a file
folder simply by drag-
ging them into the
drawing window.
Once a file has been imported into SketchUp via the File > Import option, SketchUp
will recognize the imported file as a component…which brings us to our next option.
USING THE COMPONENT BROWSER

Importing a component into your project from the component browser has the same
effect as importing a SketchUp model using the File > Import command. To open the
component browser (Figure 4.4), choose Components from the Window menu.
Figure 4.4
Toggle Secondary The component
Navigation menu Selection pane browser.
In Model library Search bar
View Options menu
Details menu
Previous Next
You can use the component browser to import models stored locally on your comput-
er’s hard drive or network file server. By default, the component browser’s Navigation
menu displays a drop-down list of all component folders located on your local hard
drive within the Components directory (Figure 4.5).
Figure 4.5
The component browser
Navigation menu.
It’s handy to store components you know you’ll use often in the Components directory
within SketchUp, so they’ll be right in the Navigation menu’s Favorites section. The
Components directory is located here:
• On a Mac: Your Hard Drive/Library/Application Support/Google SketchUp 7/
SketchUp/Components
• On a Windows PC: C:\Program Files\Google\Google SketchUp 7\Components
If you have SketchUp models in folders in other locations, you can open those by
choosing “Open a local collection” from the component browser’s Details menu .
SketchUp will add the folder to the Favorites list in the Navigation menu .
Once you’ve located the model(s) you’d like to import, click the icon, drag the model
into the drawing window, and then click again to set the model in place.
GET TING MODELS FROM THE GOOGLE 3D WAREHOUSE 47
Why Do Some Models Get All Flippity-Floppity?

Some SketchUp component files may be formatted with gluing planes that will assist or
restrict the placement of the component file.
If a component has an assistive gluing plane assigned, you may notice that a compo-
nent flip-flops around to align itself to the surface on which you’re trying to place it.
If the gluing plane is restrictive, you may notice that SketchUp will only allow you to
place the model on a particular type of surface. For example, some window and door
components are set up such that they can only be placed on horizontal “ground” sur-
faces or vertical “wall” surfaces.
I’ll provide a bit more information about creating components with gluing planes in
Chapter 8, “Mastering Components.” For now, just be aware that they exist, and that
they might affect your ability to place components in your project.
GETTING MODELS FROM THE GOOGLE

3D WAREHOUSE
When I meet someone who’s never heard of the Google 3D Warehouse, I’ll often
describe it as the “YouTube for 3D models.” The Google 3D Warehouse (http://
sketchup.google.com/3dwarehouse) is a freely accessible Web-based service that allows
anyone to upload or download 3D models in SketchUp (.skp), Google Earth (.kmz), or
Collada (.dae) file formats.
The Warehouse contains millions of 3D models that include just about everything
(PG-rated, of course) you could ever imagine wanting to see in 3D. Amidst this vast
sea of content in the Warehouse, you’ll find the 3D georeferenced buildings that
appear in Google Earth’s 3D Buildings layer, as well as hundreds of manufacturer-
specific product catalogs containing hundreds of thousands of real-world products.
Of course, you’ll also find loads of beautifully detailed models of the characters from
Halo, Battlestar Galactica, Transformers, as well as everything you’d need to create
3D contingency plans for an apocalyptic zombie attack.
In much the same way that you might search YouTube for the music video of “I’m on
a boat” and instead somehow end up watching the stop-motion LEGO version that
some guy filmed in his living room, the open-source nature of the 3D Warehouse
often makes it a bit of a hit-or-miss proposition when you’re trying to find useful con-
tent for a project.
Finding What You’re Looking For

Before getting into the specifics for downloading stuff from the 3D Warehouse, it’s
worthwhile to take a look at some of the best ways of finding what you’re looking for
in the first place.
Searching the Warehouse for models isn’t much different than using Google to search
for a Web site. The more specific you can be with your search word(s) or phrase, the
better. For example, a generic search for the word “car” returns more than 25,000
models to browse through. However, typing a specific make and model (such as
“Chevrolet Corvette”) will whittle the results significantly (down to about 200).
If you really want to get fancy with your search results, check out the advanced search
operators that Google has listed in the SketchUp Help center: http://sketchup.google.
com/support/bin/answer.py?hl=en&answer=92457 (Google “3D Warehouse Advanced
Search Operators”). I’ve listed some of my favorites in Table 4.1.
Table 4.1 Useful Advanced Search Operators

Operator Definition Example(s)
is:dynamic Search for dynamic models only is:dynamic
author Used to specify the author’s nickname author:BlueMarbleProject
complexity Search for models with a given level Car complexity:low
of complexity Car complexity:medium
Car complexity:high
is:geo Search for georeferenced items Dodger Stadium is:geo
(marked with a location on Earth)
near: Search for items “near” the given near:Los Angeles, CA
location near:11755 Wilshire Blvd
filetype: Search for models that contain the filetype:skp
specified file type filetype:kmz
filetype:dae
Typing advanced search operators into the search bar is one way to quickly include
common search filters and criteria, most of which are otherwise found in the dialog
that comes up when you click the Advanced Search link next to the search bar
(Figure 4.6).
Figure 4.6
The Advanced
Search link and the
3D Warehouse’s
Advanced Search
dialog.
Sourcing Dynamic Components NOTE Because

I use the “is:Dynamic” filter most often. Adding that to your search phrase will return of the way
dynamic components
only those models that have dynamic component (DC) options. For example, “French
are programmed, you’ll
Door is:Dynamic” will return just a handful of models to choose from. For items such typically need to
as windows, doors, and cabinets, you’ll often find detailed dynamic components with import them directly
configurable options for size, material, hardware, etc. into a project in order
to get them to work as
The “Ultimate Wood Outswing French Door” by Marvin Windows contains dynamic advertised. Download-
options, including 16 different available sizes that can be configured in 64 different ing a dynamic compo-
ways. Often you’ll also find dynamic components that include clickable interactions. nent to your desktop
The doors in this model, for example, will swing open and shut when you click them and then opening it
with the Interact tool . will not let you access
its dynamic features.
Sourcing Products
The ability to source 3D models from real-world manufacturers’ product catalogs is
very useful for architects and designers who want to incorporate specific products into
their designs. With over a billion page views since the 3D Warehouse site was intro-
duced in 2007, manufacturers are realizing the benefits of uploading their catalogs to
the Warehouse—letting designers and consumers visualize their products in 3D.
Collections are an organizational feature that manufacturers often use to replicate the
experience consumers might have if they were to browse a traditional print catalog. For
example, choose Collections from the drop-down menu to the right of the search bar,
and then type in the name of a brand, or product line for your search (Figure 4.7). For
example, “KraftMaid Cabinetry” or “Hayward Cabinets” (one of KraftMaid’s product
lines) will return specific catalog collections that you can browse through.
Searching for collections that contain a particular product type can be another effec-
tive way to locate specific products—for example, “KraftMaid Base Cabinets.”
Figure 4.7 You can

browse collections
the way you might
browse a manufactur-
er’s product catalog. Searching for models (by choosing Models from the drop-down) that correspond to a
particular product name or SKU is probably the best option for narrowing your search
to a single model. For example, “Hayward Sink Base Cabinet” or “JCB2488MTR”
will definitely help you cut to the chase (Figure 4.8).
Figure 4.8 If you’re

going to search
models for a specific
product, try searching
for the product’s SKU
code first. Sourcing Georeferenced Content
Finding specific georeferenced models (that is, models that contain information about
their specific geographic location on Earth) in the 3D Warehouse is another task for
which search criteria can help speed the process.
If you’re looking for buildings in a particular city, click the Collections radio button
before searching for the city name—“Los Angeles, CA,” for example. If you find more
than one collection for a particular city, start with the one that contains the most models.
If you’re searching for a specific building and you know its name (“Home Depot,” for
example) or the building address (such as “11755 Wilshire Blvd”), you can enter that
info into the search bar and click the Models radio button.
Methods of Downloading
There are two main methods for downloading content from the 3D Warehouse:
either by saving files to your computer’s hard drive via your Web browser, or by
directly importing them into your SketchUp project via the component browser or
Get Models command.
Downloading from the Web

The 3D Warehouse is accessible online at http://sketchup.google.com/3dwarehouse.
I use the Safari browser on the Mac, but Chrome, Firefox, and Internet Explorer all
work in much the same way.
To download a file from the Warehouse, click the gigantic Download Model button, and
then select the file format and/or version of SketchUp that you’re using. When you click
to download a file it will be saved automatically to whatever folder you’ve set as the
default for your Web browser downloads. On my Mac I’ve got Safari set up to save files
to the Downloads folder; on my PC I have Chrome set to download to my desktop.
When downloading from the Web, I’m typically downloading files that I eventually
want to open on their own, rather than import into another project. For example,
you’ll often find entire models of rooms or buildings that have been uploaded for you
to tinker with, such as the Kitchen design by KraftMaid that features their Putnam
maple cabinetry line alongside a suite of Dacor appliances (Figure 4.9).
Figure 4.9 Files

downloaded from the
3D Warehouse can
be saved locally and
opened directly in
SketchUp.
Once I’ve downloaded a file and taken it for a spin, I’ll typically copy and paste
elements of the file into a project, and/or stash the file in a project folder for future
reference.
NOTE If you download files from the 3D Warehouse, remember that you can save them and
organize them in folders in the SketchUp application directory (see the previous section, “Using
the Component Browser”). Any folders or files saved to the Components directory will automatically
show up in your component browser Favorites list.
Downloading Directly into SketchUp

Without even opening your Web browser, you can download files directly into
SketchUp via the component browser or via the Get Models command.
Via the component browser: The Search bar at the top of the component browser is
linked directly to the 3D Warehouse. When you enter a search word or phrase, the
results appear in the primary browser pane. Click the icon of the model to import it
directly into your project (Figure 4.10).
Figure 4.10 Once

you find a model, you
can drag and drop it
from the component
browser into the
drawing window.
To save a model you’ve downloaded from the Warehouse to a folder in your local
library, open the In Model library in the primary pane. Then open the secondary
pane and navigate to a folder in which you want to save the downloaded
component. Then drag and drop from the In Model pane above into the open folder
in the secondary pane below (Figure 4.11).
Figure 4.11 To save a

model for future use, drag
and drop it from the In
Model library to a folder in
the secondary pane.
1) In Model library
2) Landscape folder
Playing Favorites
Once you figure out which search phrase to use to find
the stuff you’re looking for, you can save the search to
your component browser Favorites list. Simply choose
“Save to favorites” from the Details pop-up menu in
the component browser (Figure 4.12).
The search phrase will then show up in the Navigation
menu drop-down list.
“Save as a local collection” is another option in the
Details menu that works especially well for download-
ing entire catalogs to your desktop and automatically
saving them to a folder in the SketchUp Components
directory.
Commitment-phobes need not worry; the Remove From
Favorites option is just as easy to use.
Figure 4.12 Save common
searches as Favorites.
Via the Get Models command: The Get Models command in the Google
toolbar (View > Toolbars > Google) opens a mini Internet browser window within
SketchUp (Figure 4.13). The search and download process is practically identical to
downloading from the Web as described earlier; the difference is that when you click
the Download button, you’re asked whether you want to download the model directly
into your SketchUp project (Figure 4.14). Clicking OK brings the model into your
project; clicking No results in a dialog that lets you choose a folder on your hard drive.
If you don’t want that model after all, click Cancel.
Figure 4.13
The Get Models
command launches
the 3D Warehouse in
a mini Web-browser
window.
Figure 4.14
SketchUp gives you
the option to down-
load models directly
into your SketchUp
project.
CREATING AN EASYBAKE SITE MODEL 55
Creating Your Own Collections

Creating collections is a great way to catalog models on the 3D Warehouse for future
use. For example, you might create a collection called “My Windows,” “My Plants,”
“My Furniture,” or any other type of model you regularly find yourself searching for.
If you don’t want people to know about your fetish for collecting Star Wars models,
don’t worry—for every collection you create within the 3D Warehouse, you have the
option to make it private or to share it only with people you choose. You’ll see a link
below every image model that says “Add this model to a collection.” Click the link to
choose a collection from the drop-down list. Keep in mind that a model can be
included in any number of collections.
When you’re logged in to the 3D Warehouse you’ll see a My Collections link at the
top-right corner of the screen (Figure 4.15).
Figure 4.15
My Collections link.
NOTE When you’re logged in to the 3D Warehouse you can also access any models you’ve
uploaded to the Warehouse, or any collections you’ve created from within SketchUp, by choos-
ing the options for My Models or My Collections from the Navigation drop-down list in the compo-
nent browser.
CREATING AN EASY-BAKE SITE MODEL

Environmental factors such as site location and context are important pieces of infor-
mation that need to be taken into consideration for most architectural design projects.
The Google “geo-trifecta” of SketchUp, Google Earth, and the 3D Warehouse is a
powerful combo for all sorts of location-specific applications. SketchUp users are
actively creating models for inclusion in Google Earth’s 3D Buildings layer, and the
3D Warehouse is the portal through which those 3D Buildings are submitted. That’s
great news for designers, because it means that you can import any of those same geo-
located models from the Warehouse directly into SketchUp to create a 3D model of
your site that includes the surrounding buildings.
Taking Earth for a Spin

Google Earth is another amazing application, downloadable from http://earth.google.
com (both free and pro versions are available). It’s not hard to learn the basic navigation,
and there’s a tutorial available at http://earth.google.com/tour.html. To learn more about
Google Earth, check out the “Google Earth for Everyone” full-length video training from
School: http://www.go-2-school.com/products/view/9.
To create a site model:

1. Start up Google Earth and locate your project site (in this case, a parking lot adja-
cent to the Walt Disney Concert Hall in downtown Los Angeles, CA).
2. Turn on the Terrain layer and the 3D Buildings layer (Figure 4.16) to find out
whether any of the buildings from that site have already been modeled.
Figure 4.16 Turn on

the Terrain and 3D
Buildings layers.
© 2009 Google, Map Data © 2009 Tele Atlas
3. Reset the view in Google Earth (the shortcut is R) so that the north angle is point-
ing up toward the top of the screen and you are looking straight down at the site.
4. Turn off the 3D Buildings layer (but keep the Terrain layer turned on) so you can
see the satellite imagery in Google Earth (Figure 4.17).
Figure 4.17
Looking down at
the site without 3D
Buildings.
5. Switch over to SketchUp and import the satellite imagery of the location
(Figure 4.18) using the Get Current View command in the Google toolbar
(View > Toolbars > Google).
Figure 4.18 Use the

Get Current View
command to import
the imagery.
6. Click the Toggle Terrain command to view the terrain in 3D.

7. Use the Get Models command to search the 3D Warehouse and import spe-
cific buildings (such as the Walt Disney Concert Hall, as shown in Figure 4.19a).
Figure 4.19a
Use the Get Models
command to find
and import specific
models.
8. Click the link to download the model, and then click OK to load the model
directly into your project.
9. You’ll then see a pop-up window indicating that the location of your model
building has a specific location associated with it that may be far away from the
location of your model. Choose the option to “Preserve location” (Figure 4.19b)
and the building will automatically land on the site in the model where it belongs
Figure 4.19b (Figure 4.19c).
If you choose the
Preserve Location
option SketchUp will
automatically position
the imported building
for you, based on the
model's embedded
Geo-Reference data.
Figure 4.19c
A site model created
by importing from
Google Earth and the
3D Warehouse.
Repeat steps 7–9 to import additional buildings. Remember that the advanced search
modifier “near:” can help locate buildings nearby. For example, you could use the
address for the Disney Concert Hall as the epicenter to search for additional buildings:
“near:111 South Grand Avenue, Los Angeles, 90012.”
Downloading Nearby Models

Searching the 3D Warehouse for familiar buildings or for
buildings near a particular address are both ways to use the
Get Models command to create site models. You can also
search for models near a specific site using the Component
Browser window.
1. Open the Component Browser window and choose
Nearby Models from the Navigation drop-down menu
(see Figure 4.20).
SketchUp automatically searches the 3D Warehouse for
Figure 4.20 Choose
models whose geographic coordinates match the location
Nearby Models from
of the site you have imported from Google Earth. Any the Component
available nearby buildings will appear in the Component Browser navigation
Browser window. drop-down menu.
2. Click the model preview icon to begin downloading the model (in this case, the
“Grand Tower” building located just down the street from the Walt Disney
Concert Hall (see Figure 4.21).
Figure 4.21 Clicking

the model preview
icon initiates the
download process.
3. When prompted, choose to preserve the downloaded model’s location. SketchUp

will automatically download and position the model relative to the satellite image
that was imported from Google Earth (see Figure 4.22).
Figure 4.22 The

Grand Tower is just
down the street
from the Walt Disney
Concert Hall.
No 3D for You!
You may find that nothing shows up on the 3D Buildings layer for your area in Google
Earth—which means that no one has uploaded any models to the 3D Warehouse for it.
So you’re probably out of luck in terms of populating your current project, but you can
help change that.
If you’re interested in having 3D Models of the buildings in your city or town appear in
Google Earth and the 3D Warehouse, check out Google’s Cities in 3D program for infor-
mation on how you may be able to help your local city government to get that ball roll-
ing: http://sketchup.google.com/intl/en/3dwh/citiesin3d/index.html.
Cities around the world are using Google Earth as a means to promote tourism and com-
merce districts by creating 3D models of the buildings in their town, enabling potential
new businesses, residents, and travelers to experience city amenities virtually. Amherst,
Massachusetts (and the UMass campus) is one such city that has become quite an incred-
ible success story of how a community’s own citizens can collaborate on creating their
own 3D city model for Google Earth (Figure 4.23). You can read more about their use of
SketchUp, Google Earth, and the 3D Warehouse at: http://sketchup.google.com/3dwh/
citiesin3d/amherst.html.
Figure 4.23
A 3D Google Earth
model of Amherst
City Center (Amherst,
MA) with the College
campus of UMass in
the background.
© 2009 Google
You may find it helpful to contact a Professional 3D Geoweb Services company such as
Blue Marble Project (info@bluemarbleproject.com) to assist in creating 3D models or to
simply help consult on, or manage the process.
SIZE M ATTERS
The models on the 3D Warehouse are created by experts and novices alike. As such,
the precision and care with which the components have been created varies widely.
Among the most common issues with content downloaded from the Warehouse is the
size of the file, both in terms of the object’s relative size in the model, and also the
byte size of the file. You won’t run into very many problems with relative size or byte
size if you stick to searching for manufacturer catalogs and Geo content, but you don’t
want to miss out on the other 95 percent of the content in the 3D Warehouse. So
search away, and see what you come up with. If you end up importing a 3-foot-long
car, all is not lost. You’ve got some options.
Scaling Your Components

The Scale tool: The Scale tool is probably the first tool that comes to mind when
you need to scale an object that comes in at the wrong size.
In this example we’ll use a model of a car that you can download from the 3D
Warehouse. Using the Get Models command , search for and download the model
“Car Model (Not to Scale)” in the Real World Google SketchUp Chapter 4 collection.
When using the Scale tool to size a component, you can eyeball it, enter a specific scale
factor in the Measurements box in the bottom-right corner, or enter an exact size in
the direction of the axis about which you are scaling.
For example, click the center-front scale handle. While scaling the model out along the
green axis, press and hold the Shift key to constrain on center the proportions of the
model, and then click to initially scale the model up to an arbitrary size. Then type
182.5" and press Enter to scale the car to its exact, proper length (Figure 4.24).
NOTE With dynamic components, you may find that some of the scale handles are turned off.
In most cases that means the model is already at the correct scale and handles are turned off to
prevent you from screwing up the model. If you’re using SketchUp Pro and you feel like you need to
scale a DC, you could try turning the scale handles on by editing the dynamic component attributes. If
the component gets all messed up, don’t say I didn’t warn you. You may want to do a Save-As before
tinkering with a DC so that if something goes wrong, you won’t have to download it again.
SIZE MAT TERS 63
Figure 4.24 The

Scale tool can be used
to scale an object
based on a known
exact overall dimen-
sion along the red,
green, or blue axis.
The Tape Measure tool: Among the Tape Measure tool’s many uses is its ability
to scale components within the model based on a known exact dimension. For
example:
1. Re-import the same car model that we used in the previous example.
2. Right-click the component and choose Edit Component (Figure 4.25).
Figure 4.25
Edit Component.
3. Use the Tape Measure tool to measure lengthwise from one endpoint to
another endpoint (Figure 4.26). Tip: Click an endpoint on the frontmost part of
the model, then press the left arrow key to lock the green axis, and then orbit
around and click an endpoint on the backmost part of the model.
Figure 4.26 Using

the Tape Measure
tool.
SIZE MAT TERS 65
4. In the Measurements dialog you’ll see where SketchUp is telling you that the
model is ~4' 7 1⁄16". At this point you can tell SketchUp what that distance should
be. Type in 182.5" and press Enter (Figure 4.27).
Figure 4.27 Enter

a new value for the
length.
NOTE
An important
difference between
using the Scale tool
and using the Tape
Measure tool is that
scaling an object with
the Scale tool may
change the position of
the bottom of the com-
ponent in the blue axis
5. When SketchUp asks if you want to change the size of the active component, click
(vertical) direction,
Yes (Figure 4.27). whereas the Tape Mea-
6. Zoom out using the Zoom Extents tool . sure tool scale option
will keep the bottom of
7. The last step is to close up the component wrapper. The easiest way is to take the the component in the
Select tool (press the spacebar as a shortcut) and then press the Esc (escape) key. same spot.
Reducing File Size

Polygon count and image-based texture maps are two of the most significant contrib-
uting factors to file size. A model’s polygon count can also tax your computer’s graph-
ics card and potentially bog down SketchUp’s performance. It doesn’t make sense to
let imported components hog your system resources if they’re just in your project as
window dressing. It does make sense to choose models that are just detailed enough
for your purpose.
Take the car model that you just resized, for example. It’s a beautiful model, but the
amount of detail would likely be overkill for most situations.
The 3D Warehouse shows that the model is about a 7 MB file. With the model already
downloaded, go to Window > Components > In Model Library. Then select the car
component in the list, click the Statistics tab, and then choose the Expand check box.
In the Statistics pane for the components you’ll see that there are over 130,000 entities
contained in just this one model (Figure 4.28). That’s not so great unless you’re work-
ing on an ad and the model of this car is the only thing you’ll be working on.
Figure 4.28
The 7 MB file of this
car model contains
over 130,000 entities.
Compare those statistics against a model of a Ford Escape that you can find in the Real
World Google SketchUp 7 Chapter 4 collection in the 3D Warehouse, which comes in
at 1 MB, and contains about 11,000 entities (Figure 4.29). Even though the model of
the Escape is textured, it is still a significantly smaller file. For projects where it would
be necessary to place a few cars around—either in a garage, curbside, or in a small
parking lot—I’d much rather go with the lower-poly, textured model of the Escape.
If you had to put cars all over the place to depict a busy road, intersection, or large
parking lot, your best bet would be something from Google’s collection of low-poly
vehicles, which include cars like the sedan in Figure 4.30 (also in the collection for
this chapter, or you can search for “Sedan author:google”), which comes in at a mere
64 Kb and has been modeled with just over 1200 entities.
SIZE MAT TERS 67
Figure 4.29 The textured model of this Ford

Escape contains over 11,000 entities and weighs
in at around 1 MB.
Figure 4.30 The sedan model is optimized for

use in projects where you might need to put a
lot of cars in your project.
NOTE “Max- One of the best file-size savers is to use low-poly, 2D components in lieu of high-poly
Polys” is an 3D components. You’ll most often find this to be an acceptable option when adding
advanced search oper- landscape components (such as trees, bushes, etc.) and people to your models. Add
ator that can help
“2D” to your search phrase for these types of components and you’ll be off to a good
refine search results
start. Some of the best trees I’ve ever used can be found by searching for “SetTree3D
based on a models
polygon count. If author:pepe.” These tree models use an exceptional blend of low-poly, textured,
you’re looking for a “face-me” components (see Chapter 8, “Mastering Components”) while adding depth
component that you’ll to the various elements of the tree to lend more realism.
need to copy many
times, this is a good fil-
ter to use. Try looking Too Much Junk in the Trunk
for components with a
maximum of 1000 Polygon count issues are one thing, and downloading a component that simply has
polygons and then more elements than you need is another common problem. Paste in Place is a com-
increase that number if mand you can use to quickly extract the parts you need to keep, and dump the rest.
you’re having trouble
locating a suitable 1. Open a new file and then choose Get Models . Search for the “Kraftmaid
model. For example, Extreme Makeover Home Edition” and download the model of the Riojas fami-
“car max-polys:1000.” ly’s accessible kitchen by Kraftmaid.
2. Right-click the component and choose Edit Component (Figure 4.31).
Figure 4.31
Edit Component.
3. Select the kitchen island, and then press Command+X to cut the island and place
it on to the Clipboard (Figure 4.32).
SIZE MAT TERS 69
Figure 4.32
Cut the island.
4. Press the Esc key to close the component.

5. Choose Edit > Paste in Place (my recommended custom shortcut is Option+
Shift+V) to paste the island back into the model—outside of the component that
contains the rest of the kitchen (Figure 4.33).
Figure 4.33
Paste in Place.
NOTE If you 6. Take the Eraser tool (keyboard shortcut E) and click the kitchen to leave the
want to save all island unto itself (Figure 4.34).
of the components
from the kitchen to a Figure 4.34
local folder so that Erase the
you’ll have access to kitchen.
them offline: Click the
In Model icon in the
component browser
. Then choose “Save
as a local collection”
from the Details
menu .
NOTE The 7. To remove the other components that would otherwise still be embedded in the
Purge Unused file, choose Window > Model Info > Statistics > Purge Unused.
option in the Model
Info window purges all
In Model libraries of
unused components, OTHER COMPONENT R ESOURCES
layers, materials, and
There are other great online resources for getting your hands on professional-quality
styles. To purge only
the unused compo- SketchUp components. The following sites offer samples from their component collec-
nents, go to the com- tions that can be downloaded from the 3D Warehouse.
ponent browser and
• Form Fonts: www.formfonts.com Form Fonts is a subscription-based site with
navigate to the In
Model library .
thousands of professional-quality 2D models, 3D models, and texture maps.
Then choose the When 3D Warehouse searches turn up empty, I’ll often turn to Form Fonts. I’ve
option for Purge had an account on this site for nearly four years and find it an invaluable resource
Unused from the for delivering projects on tight deadlines.
Details menu .
Similar options can be • Entourage Arts: www.entouragearts.com This site sells a number of
found in the Layers, CD-ROM volumes with 2D NPR (non-photorealistic) components of people and
Materials, and Styles landscape elements. Each component comes in SKP, PNG, and MCD format.
windows. The files can be used in SketchUp, Piranesi, and Photoshop to create renderings
with a softer, more hand-drawn aesthetic.
71
chapter
five
Importing CAD Files
The ability to transport information seamlessly between any of the various

3D and 2D design and drafting programs is at best a dream, albeit one that is
likely shared by many of us. For the time being, the interoperability between
SketchUp and other CAD applications still involves some shenanigans.
As the great debate about CAD software rages on, and battles for CAD
supremacy are waged between Autodesk and its enemies, I’ve managed to
find my little corner of Zen amidst the tumult.
I came to realize after having installed a bazillion modeling, design, drafting,
and rendering applications, that I like using software the way I used to use
analog mixed media. In my old art bin I used to have Conté crayons and
charcoal sticks on the top shelf, sketching and technical pencils on the second
tier, Rapidographs below that, and a jumble of watercolor stuff, Prismacolor
pencils, eraser shields, and various Exacto blades scattered in the bottom of
the bin. And that was just the stuff in the bin—not including all the other
stuff I had around my drafting table. There was a time for using each and all
of those different media—either for design sketches, presentation renderings,
or working drawings.
Nowadays I tend to try using SketchUp for just about everything—except
for creating working drawings, which are still created in AutoCAD, Revit,
or Vectorworks, where the drafting tools are more effective and efficient for
creating the kinds of documents that are typically required by local building
departments and builders. Photoshop, Illustrator, Flash, After Effects, Final
Cut, Cinema 4D, Piranesi, and about a dozen other applications round out the
list of digital tools we often use to get things done.
72 CHAPTER 5: IMPORTING CAD FILES
In my digital art bin, SketchUp is the tool of choice for visualizing and com-
municating ideas in three dimensions, which makes it an incredibly useful tool
throughout all stages of the design and building process. When combined with the
companion program Layout, SketchUp is inching closer to offering a viable standalone
replacement software for other CAD drafting tools. Together they can pretty much get
the job done for smaller-scale projects, such as finish carpentry projects, set designs,
and kitchen and bath projects—but for projects that require full-scale construction
documents, such as ground-up commercial or residential projects, SketchUp probably
won’t meet all your needs.
Working with CAD data in SketchUp presents a number of challenges, such as getting
the files in good shape, managing layers, and working with curves and contours—all
of which I’ll discuss in this chapter. There’s also the issue of exporting CAD files from
SketchUp, but we’ll get to that a bit later in Chapter 10.
CHOOSING CAD IMPORT OPTIONS

NOTE Even if Opening a non-native CAD file in SketchUp is an easy process, but you can avoid
you’re using a some headaches if you take a little care when bringing in the file. Let’s look at each of
program for drafting the import options that SketchUp provides.
other than AutoCAD,
you can probably To import a CAD file, select Import from the File menu. Then choose the option in
export your drawings the File Format drop-down menu for “AutoCAD Files ( .dwg, .dxf)” (Figure 5.1).
in AutoCAD format
(DWG or DXF). If your Figure 5.1
drafting program has Importing AutoCAD files.
an option to export to
SketchUp’s SKP format,
just use that instead
and skip this section.
CHOOSING CAD IMPORT OPTIONS 73
Avoiding Stickiness
If you’re using a template such as “Plan View - Feet and Inches,” which opens new files
beginning with an empty drawing space, the first CAD file you import will come in as
a bunch of loose, sticky lines. As soon as you get those lines into SketchUp, I suggest
grouping them immediately.
If there’s already something in the model (like Sang, the guy who’s standing at the origin
in the Architectural templates), SketchUp will import a CAD file as a component and the
component wrapper will keep it from sticking to anything else in the model.
In the Import dialog, choose the CAD file you want to import by browsing for it, and
then click the Options button. In the Options dialog, make sure the scale is set to
Inches and that all three check boxes are checked, so that “Preserve drawing origin,”
“Merge coplanar faces,” and “Orient faces consistently” are all enabled (Figure 5.2).
Click OK, and then click Import.
If your import was successful, you should see an Import Results dialog that shows you
some statistics of your model (Figure 5.3).
Figure 5.2 Recommended import Figure 5.3 The Import Results

settings. dialog details the data SketchUp
was able to successfully translate
from your CAD files.
Scale
The Scale drop-down menu is a bit of a misnomer as it’s not really asking about scale,
or about the units of your SketchUp model—rather, it’s asking for the units that the
CAD file was drawn in. When SketchUp imports a CAD file, it switches the default
units to match what you have specified in SketchUp (under Model Info > Units). In
the United States, most CAD programs (and SketchUp) are typically set up with the
default units in inches, for architectural design.
If you import a CAD file and don’t pick the correct scale units, you might get an error
message like the one in Figure 5.4—in which case, try again and pick a different one.
Figure 5.4 An error

message you might get
when importing a CAD
file into SketchUp. This one
typically suggests a scale/
units issue.
Preserve Drawing Origin

For smaller-scale projects it’s a good idea to preserve the drawing origin. Often during
a project, the design changes and project files need to be updated frequently (both in
CAD and in SketchUp). When the drawing origin is preserved during the initial and
subsequent CAD file imports, the drawings will be imported on top of each other in
reference to the same origin—making it a lot easier to notice the differences between
each version.
For larger files, such as site plans or surveys, the drawing origin may represent a GPS
coordinate or surveyor stake that lies far away from the project site. If that’s the case,
it’s probably better to discard the drawing origin by deselecting the “Preserve Drawing
Origin” option. The import will result in the CAD file landing closer to the SketchUp
model origin. Since surveys and as-built drawings typically only have to be imported
once, at the beginning of a project, the drawing origin is less important because you’ll
rarely need to re-import revised versions of those kinds of files.
Orient Faces Consistently

The option to “Orient faces consistently” is most useful when importing 3D CAD
files, but I tend to just leave it checked for all CAD imports.
The orientation/direction of a face is an important attribute to be aware of and main-
tain throughout a project. The direction of a face is visually represented by the default
face colors blue (inside) and white (outside), as shown in Figure 5.5.
CHOOSING CAD IMPORT OPTIONS 75
Figure 5.5 Default

Blue (inside)
face colors visually
illustrate the orienta-
tion and direction of
a face.
White (outside)
If you import a CAD file into SketchUp and you notice that despite having checked
the option to orient faces consistently, some or all of the faces in your model are blue
(turned inside-out), here are some ways you can fi x that.
Reverse Faces
The Reverse Faces command is located in the context menu and appears whenever NOTE The
you right-click a face. Reverse Faces flips the direction of a face from white to blue or Reverse Faces
vice versa (Figure 5.6). The process goes a bit faster if you preselect multiple faces option will not appear
if you right-click a
before using the Reverse Faces command.
group or component.
You must be in Edit
Group, or Edit Compo-
nent mode and then
right-click a face to
access this option.
Figure 5.6 Before and after using the Reverse Faces command to flip the orientation of a
single face.
Orient Faces
The Orient Faces command is also located in the context menu and appears whenever
you right-click a face. Orient Faces causes SketchUp to reevaluate all faces connected
to the one you right-click. SketchUp will orient the connected faces so that they corre-
spond to the orientation of the face you clicked (Figure 5.7).
Figure 5.7 Before and after using the Orient Faces command to flip the orientation of a
bunch of faces.
In other words, if you right-click one face that has the white side facing out, then all
the faces of that object will be oriented so that the white side is facing out.
Hidden Geometry
If you import a curved surface and notice that only some parts of the surface are inside
out, and the above options aren’t working to fi x the problem, you can turn on Hidden
Geometry (View > Hidden Geometry) and then use the Reverse Faces command to
properly orient the inside-out parts individually.
WORKING WITH 2D CAD FILES IN SKETCHUP 77
Can’t I Just Paint It?

If this section has you thinking about having seen a blue-and-white jumbled mess of
faces at some point in a past project, and you decided at the time to “fix” the model by
using the Paint Bucket tool to apply a uniform material to all the surfaces…well, that
just hid the problem; it didn’t get rid of it.
While you may think the faces look OK once they’ve been painted in SketchUp, you’ll
often experience issues when exporting from SketchUp to other modeling and render-
ing applications. For example, materials applied to blue faces in SketchUp have a ten-
dency to render backwards in some applications. In other applications, materials applied
to blue faces are dumped during the export/import process, so blue faces are rendered
black. One of the more technical reasons for all this is that other 3D modeling programs
respect surface “Normals”—which are defined by a vector that sticks out tangent to the
orientation of a face. The direction of the Normal vector determines the direction of the
face, which often affects the way textures and materials are rendered. SketchUp is cool
because you don't really have to know about all that—you just need to get the blue and
white colors sorted out.
The good news is that even after you’ve painted a model, you can still easily view the
surfaces based on the default blue/white colors using the Monochrome Face Style dis-
play mode (View > Face Style > Monochrome) . Then use Reverse Faces or Orient
Faces to fix anything that may be inside-out.
WORKING WITH 2D CAD FILES

IN SKETCHUP
In many of the firms at which I’ve worked or consulted over the past six years, the
process of creating 3D models in SketchUp begins by referencing a given set of 2D
plan and elevation drawings that were created in some other CAD application. This
section outlines a few of the procedures and techniques that you can use to create
accurate 3D models in short order.
To work along with the examples in this section, you can copy over to your hard drive
the DWG file Sample CAD File.dwg from the DVD included with this book. There is
also a SketchUp file of the same model in the 3D Warehouse; search for “Working
With CAD Example author:Blue Marble Project,” which you can use if you can’t or
don’t want to import the DWG file.
Prepping Your Files in CAD

The file Sample CAD File.dwg (included with the sample files on the companion
DVD) is an example of a CAD file already optimized for import into SketchUp.
For the purpose of this book, I’ll focus on the SketchUp side of the how-to process. If,
however, in addition to using SketchUp, you also happen to be a draftsperson working
in CAD, the following tips are intended to help you better optimize CAD files prior
to importing them into SketchUp.
Save As: For starters, it’s typically a good idea to save a copy of your CAD file. I typi-
cally keep a folder of files called CAD Files in the folder with my SketchUp models.
In this folder I keep a record of the CAD files that I’ve created specifically for import-
ing into SketchUp.
DWG Format: When saving your CAD files, if you have a choice, you’re better off
saving them as DWG files, as opposed to DXFs. DWG files translate a bit better into
SketchUp.
No Notes: CAD file text and notations won’t translate into SketchUp, so you can
turn off, freeze, or delete stuff on the text, symbol, and annotation layers.
Explode/Embed: SketchUp will read only those entities native to a drawing. Referenced
drawings won’t show up, so explode/embed any referenced entities in the drawing.
Flatten: If you’ve created 2D plan and elevation drawings that you’re going to import
into CAD, check to make sure that the drawings have been flattened. Edges and end-
points that are slightly off plane can cause problems in SketchUp.
Units: As mentioned earlier in this chapter, it’s a good idea to note the default unit
settings in CAD, as you’ll be asked about them during the import process.
Layers: I’m about to go out on a fragile limb in the next section (by telling you that
your CAD layering system is rendered useless in SketchUp), but for those of you who
are determined to keep continuity between your layers in CAD and your layers in
SketchUp, I’d suggest parsing out your CAD file into multiple files that each contain
layers that do not overlap/interfere with each other. Say you’re designing a house, and
you’ve got all your walls on a layer (i.e., A_WALL_FULL). You can do a Save As (call
it Project X_Walls.dwg) Then freeze/hide the walls layer, delete everything else, purge
the drawing, and then unhide the walls. In some cases you may be able to keep a
couple of layers together in the same drawing (maybe windows and doors, or appli-
ances and fi xtures). Then import the files one at a time and line them all up in
SketchUp. Importing the layers as separate files will preserve the autonomy of the
entities within each layer.
Managing Layers
When the CAD file is imported into SketchUp, the layers from that file come over
right along with it. However, layers function differently in CAD than they do in
SketchUp. For example, in AutoCAD you’re able to draw two lines right on top
of each other and separate them on different layers. One of the lines might represent
the face of a wall and be on a layer called something like A_WALL_FULL; the other
edge might represent a cabinet and be on a layer called A_FIXT_CASE. In CAD,
even though the lines are parallel with each other, those lines will stay autonomous,
and you’ll be able to control the visibility of one line or the other by turning on or
off their respective layers. That all changes as soon as you import that CAD File
into SketchUp.
SketchUp isn’t a 2D drafting tool—it’s a three-dimensional modeling program. The
ability to draw a bunch of autonomous, overlapping edges in a 3-Dimensional environ-
ment doesn’t really help someone create a 3D model more efficiently. If SketchUp sees
two or more edges that were hanging out in the same spot in CAD, it will go ahead
and merge those edges into one. Furthermore, if the edges were on separate layers in
CAD, SketchUp will decide which of those layers to put the newly merged edge on.
I’ve seen some pretty elaborate systems that people have developed for keeping their
layers consistent in SketchUp and CAD.
In my experience, however, it’s not worth Delete Layer
it. My suggestion: Once you get the

CAD files into SketchUp, simply merge
the entire drawing into a single layer and Add Layer Details
call that layer “CAD Stuff.” Then use the
information you’ve imported as a refer- Current Layer
radio button
ence for creating your 3D model.
Before we get to the 3D modeling part,
let’s take a minute to get the layers sorted
out. As mentioned, you can either import
the CAD example file from this book’s Layer list
DVD before starting this exercise, or you

can download Working With CAD
Example.skp from the 3D Warehouse.
1. Start by opening the Layers window
(Window > Layers) as shown in
Figure 5.8.
Figure 5.8 The Layers window.
2. Click Add and create a new layer called “CAD

STUFF” (Figure 5.9). Make this new layer the
current layer by clicking the radio button next to
the layer name.
3. Select all the other layers (use the Shift or
Command key to select multiple layers).
4. Click Delete. When prompted, tell SketchUp to
“Move all the layer contents onto the current layer”
(Figure 5.10).
5. Make Layer 0 the current layer again by clicking the
radio button next to Layer 0 (Figure 5.11). Note:
It’s generally a good idea to keep Layer 0 as the cur-
rent layer at all times. The process of moving con- Figure 5.9 Click the Add
tents from deleted layers is one of the few times that Layer button to create a
it can be useful to temporarily change the current new layer.
layer status.
Figure 5.10 When you delete a

layer, SketchUp gives you options
for what you want to do with the
contents of the layers you’re deleting.
In this case, since CAD STUFF is the Figure 5.11 Clicking the
current layer, you’ll want to choose radio button next to a layer
the option Move to Current. will make it the current Layer.
6. Ensure that the edges in the model are grouped. Select all (Command+A) and then
choose Edit > Make Group (Command+G).
7. Save the changes you’ve made to this file before continuing with the next section.
I’m not saying this is the only way to work with your CAD layers in SketchUp, but in
my experience, it’s the least frustrating. If you just can’t fathom a world where your
CAD layering system doesn’t exist, you’re certainly welcome to try getting them to
work in SketchUp. My best advice though, would be to take a deep breath and let go.
Drawing Walls
Now let’s look at a tried-and-true method for creating walls. I have seen and used NOTE I repeat:
dozens of methods for working with CAD files over the years. This one may seem a Before continu-
bit convoluted and may take a little getting used to, but I guarantee it will produce ing, make sure that the
edges that were
more consistent and more efficient results than any other.
imported from the
1. Continuing with the same file as in the previous section, start by using the CAD file are grouped
Rectangle tool (recommended shortcut: N) to draw a rectangle on the ground (see step 6 in the previ-
atop one of the walls that runs parallel to the axes (Figure 5.12). Note: It is not ous section).
recommended that you snap to any of the endpoints or edges in the CAD draw-
ing during this step.
Figure 5.12 Use

the Rectangle tool
to draw the first wall
section.
2. Push/Pull (recommended shortcut: Q) the rectangle up to a height of 9 feet,

then push/pull the sides of the wall and infer the edges of the CAD file below to
get the correct width and length dimensions (Figure 5.13 on the next page).
Figure 5.13 Use the

Push/Pull tool to draw
the first wall segment.
3. Once you’ve got the first wall segment in place, take the Move tool (M) and
toggle the Move/Copy function (press the Ctrl key [PC] or Option key [Mac]).
4. Click and let go on one of the inside vertical edges and start moving a copy of the
edge over along the axis direction that runs parallel to the length of the wall
(Figure 5.14).
Figure 5.14
Use Move/Copy to
start copying the
edge over.
5. While moving the edge along the axis direction, press and hold Shift to lock the
axis inference. Keep Shift held down and click the endpoint in the plan below to
set the copied edge down in the correct place (Figure 5.15).
Figure 5.15 Lock

the axes inference
and then infer the
endpoint in the plan
below.
6. Use Push/Pull to pull out the next wall section. Be sure to infer the outside
edge of the building in the CAD plan below (Figure 5.16).
Figure 5.16 Push/

Pull the next wall
segment.
7. Repeat this process until the exterior walls have been modeled (Figure 5.17).
Figure 5.17 Keep

going until you’ve
drawn the exterior
walls that are aligned
to the axes.
8. If a building, or part of a building, is drawn at an angle (as is the case with this
example), use the Axes tool (recommended shortcut: Shift+A) to align the
axes to the building (Figure 5.18). The Axes tool requires three clicks: 1) origin,
2) red axis, 3) blue axis.
Figure 5.18 Align

the model axes to the
building.
9. Start modeling the angled exterior walls. By following the same process outlined
above in Steps 1–7.
10. When you get to the angled wall intersections, go ahead and fully overlap the
walls through the corners (Figure 5.19).
Figure 5.19 Push/

Pull the angled walls
through the corner
intersections.
NOTE You
should generally
try to avoid rotating
the building, especially
if you plan on being
able to leverage the
CAD import option
for Preserve Drawing
Origin.
11. Take the Select tool (recommended shortcut: V) and triple-click the walls to
select them. Note: Use Shift+triple-click if needed to select all of the walls.
12. Right-click the walls and choose Intersect > Intersect Selected (Figure 5.20).
Figure 5.20 Select

the walls and then
choose Intersect
Selected.
13. Use the Eraser tool (E) to clean up the intersections by erasing the extra stuff
you don’t need (Figure 5.21).
Figure 5.21 Erase the

extra stuff.
14. Once the exterior walls have been modeled, reset the model axes by right-clicking
either of the axes (off in white space, away from the model) and choose Reset
(Figure 5.22).
Figure 5.22 Reset

the axes.
15. Use the Select tool (V) and triple-click the walls to select them. Right-click
the walls and choose Make Group (PC shortcut: Ctrl+G, or Mac shortcut:
Command+G; Figure 5.23).
Figure 5.23
Group the walls.
16. Create a new layer called “Exterior Walls.” Right-click the walls and choose Entity
Info. Choose the Exterior Walls layer from the Layer drop-down menu in the
Entity Info dialog to put the Exterior Walls group on that layer (Figure 5.24).
Figure 5.24 Add

a new layer for the
Exterior Walls and put
the group on it.
17. Repeat the same steps for drawing the Interior Walls. Once the interior walls are
drawn, group them separately and place them on a new layer called “Interior
Walls” (Figure 5.25).
Figure 5.25 Model

the Interior Walls and
place them on a new
layer.
Drawing Windows and Doors

For the next part of this example we’ll focus on working through the windows and
doors. As with the previous example of drawing the walls, there are probably dozens
of ways you could go about this. The following steps are a reliable way to create accu-
rate window and door openings in reference to imported CAD plans.
Windows
NOTE Keep in
mind as you Let’s start with the windows. Having drawn the walls the way we did—by pulling
work through this wall sections through the window and door openings—we’re now in a position to
example that your
simply punch out the windows and doors.
exterior walls and inte-
rior walls are in differ- 1. Right-click the Exterior Walls group and choose Edit Group from the
ent groups. Be sure context menu.
that you are in Edit
Group mode before 2. Take the Tape Measure tool (recommended shortcut: D) and click the bottom
working on the doors edge of the west wall (be sure to look for a Red “On Edge” inference dot) to start
and windows for either
section of the model.
pulling a guide line up from the bottom edge. Then type 36 and press Enter to set
the guide at a height that marks the windowsill (Figure 5.26).
Figure 5.26 The Tape

Measure tool creates
guides parallel to an
edge when you click
anywhere along an
edge where you see
the red “On Edge“
inference dot.
3. Use the Tape Measure tool again to set the Header height at 7 feet.
4. Take the Rectangle tool (N) and draw a rectangle that infers the guides for the
sill and header heights (Figure 5.27). Don’t worry about the width; we’ll get to
that in a second.
Figure 5.27 With the

guides in place you
can draw a rectangle
that infers the estab-
lished sill and header
heights.
5. Push/Pull (Q) the new rectangle to the back face of the wall to create an
opening (Figure 5.28).
Figure 5.28 Use

Push/Pull to punch
a window opening
through the wall.
6. Toggle on X-Ray view mode (recommended shortcut: X) . The command

icon is located in the Face Style toolbar, and the command is also located under
View > Face Style > X-Ray.
7. Push/Pull (Q) the jamb and then infer the corresponding edge for the window
in the plan below (Figure 5.29).
8. Orbit around so that you can Push/Pull the other jamb and again infer the
edge for the window in the plan below (Figure 5.30).
9. Repeat these steps as necessary for the other windows in the model.
Figure 5.29 X-Ray

mode is a great face
style to use for infer-
ring information in
the CAD plan below.
Figure 5.30 Push/

Pull both sides of the
window opening so
that they correspond
to the plan below.
Doors
It’s entirely possible to use the process described earlier to model the door openings,
but I want to show an even easier option for the doors. The following process for
drawing the door openings assumes you’ve got precise CAD files to work from. Step 3
of this example asks you to trace over the CAD plan and infer specific endpoints. If
those points are off by even the slightest of margins, this process falls short—in which
case you can fall back on the process described previously for drawing the window
openings.
1. Toggle off X-Ray view mode (X) .
2. Orbit around so that you’re looking underneath the walls.
3. Take the Rectangle tool (N) and trace over the door opening (Figure 5.31).
Be sure to infer from endpoint to endpoint.
Figure 5.31 Trace the

door opening with
the Rectangle tool.
4. Push/Pull (Q) the bottom of the door up, then type in a height value of 7' and
press Enter (Figure 5.32 on the next page).
5. Repeat these steps as necessary for the other doors in the model. Again, remember
that you’ll need to make sure you’re in Edit Group mode for the correct group
depending on whether you’re trying to add doors to the Exterior Walls group or
the Interior Walls group. (Edit Group shortcut: Select tool [V] then double-click;
Close Group shortcut: Select Tool [V] then press the Escape key.)
Figure 5.32 Push

the face up and enter
the dimension for the
header height to cre-
ate an accurate door
opening.
NOTE When
you double-
click a face with the
Push/Pull tool, it will
repeat the same dis-
tance and direction as
the previous push/pull.
You can use that trick
to save a little time by
modeling all the doors
that have a similar
header height, one
6. Once you’ve finished modeling the door and window openings you can Zoom right after the other.
Out, close up any open groups, and clean up any dashed guide lines in the model
by choosing Delete Guides from the Edit menu (Figure 5.33).
Figure 5.33 Zoom

out, close up the
group, and delete
the guides.
At this point, keep in mind that the 3D Warehouse is chock-full of doors and windows
ready for you to download and plop right into your model. Marvin Windows has a
great collection of dynamic components that work well with this example.
If integrating SketchUp and CAD in your workflow is at the top of your list of things
to figure out, you should check out the Google SketchUp Pro Series: SketchUp + CAD
Training DVD by School. The DVD takes the information from this chapter a few
steps further by illustrating methods for referencing elevation drawings, methods for
modeling the roof, trellis, landscape, and hardscape areas, as well as material applica-
tions and furniture placement.
You can purchase the SketchUp + CAD DVD from the School Web site at
www.go-2-school.com/products/view/10.
Modeling Complex Shapes

Complex geometrical shapes that have been drawn in CAD might take more time
than it’s worth to redraw from scratch.
NOTE The Here’s a method you can use for modeling some of the more non-rectilinear portions
Make Faces of an imported CAD file.
script requires you to
download and install For this example you’ll want to download and install the Make Faces Ruby script
the Progress Bar script (makefaces.rb): www.smustard.com/script/MakeFaces.
(progressbar.rb), also
1. Assuming your CAD drawing is a group/component, take the Select tool and
available on the
Smustard Web site. double-click it to go into Edit Group/Edit Component mode.
2. Select the edges that define the outline of the shape.
3. Copy the edges to the clipboard (Edit > Copy).
4. Close the group/component (Escape key).
5. Paste in Place outside the group (Edit > Paste in Place).
NOTE The 6. Use the Make Faces Ruby script (Tools > Make Faces) to get the surface to fill in.
edges must
form a closed loop (the If the 2D shape of an object consists of a number of curved lines, you may want to
endpoints of all the consider employing some of the methods outlined in the following section for work-
edges must meet at ing with imported curved lines and contours.
the corners) for the
face to fill in.
WORKING WITH CONTOURS 95
WORKING WITH CONTOURS

In the previous chapter we looked at a method for creating quick and dirty site models
by importing the satellite imagery and topography from Google Earth. Another com-
monly used method for creating terrain models involves importing contour line draw-
ings that, you guessed it, were drawn in CAD. The following process illustrates a
method for creating terrain models from 3D contour line drawings. Nowadays most
surveyors can send 3D contours if you ask for them.
Lost in Translation
SketchUp doesn’t do curves. Splines, polysplines, nurbs—all that good stuff gets
translated into straight-line segments—lots of them! Most surveys I’ve come across
include contour lines drawn in CAD as polyspline curves. When those curves are
imported into SketchUp, the resulting contours, when translated, are comprised of
thousands of tiny line segments (Figure 5.34 on the next page). Working in a file with
that many edges is problematic enough; things get really lame if you try to create ter-
rain surfaces in SketchUp from contour edges that are made up of tons of segments.
Simplify Contours (SimplifyContours.rb) is a great Ruby script for reducing the num-
ber of segments of curved polylines that have been imported into SketchUp from
CAD. You can download the script from the SketchUp Web site at http://sketchup.
google.com/download/rubyscripts.html.
Once installed, the Simplify Contours command will show up in the Plugins menu.
To use the script, just preselect one (or more) contour lines and then choose the
Simplify Contours command (Figure 5.35). When prompted, enter a degree angle.
(I’ve found that an angle between 5–10 degrees works well, depending on the level of
precision you need to retain in the contours.) The higher the degree angle you choose,
the more simplified (and less accurate) the lines will become.
Figure 5.34
Contour lines with
tons of edge seg-
ments result in con-
tour surfaces with
tons of faces.
Figure 5.35
Simplified contour
lines can be turned
into surfaces with
far fewer edges and
faces.
The trickiest part about using the Simplify Contours command is that it can be a bit
finicky. The contour lines need to form a single, continuous loop in order for the script
to work. Errors will occur with this script (namely, SketchUp will delete your contour
lines entirely) when either loops or crisscrosses are present.
Loops: The contours should be a single polyline drawn as either an open-ended con-
tour or a single closed loop. If the contour contains one or more loops (Figure 5.36),
the entire contour line will disappear when you run the Simplify Contours Ruby
script. Loops are sometimes inadvertently created when SketchUp translates imported
polyspline curves that were originally drawn in CAD.
Figure 5.36 Fix any

lines that loop back
onto each other.
Crisscrosses: If the contours are divided into segments, the segments need to
meet each other at the endpoints. If contour lines cross through each other
(Figure 5.37), the entire contour line will disappear when you run the Simplify
Contours Ruby script.
Figure 5.37 Fix any

lines that overlap or
cross through each
other.
NOTE You can

use another
script called StrayLines
(LabelStrayLines.rb) to
locate the open end-
points of any overlap-
ping edges. StrayLines
can be downloaded
from www.smustard.
com/script/StrayLines.
Once the contours have been simplified, you can use the Sandbox tools (Figure 5.38)
to turn them into a terrain surface. To follow along with the next part of this example,
make sure that the Sandbox Tools extension is turned on (Window > Preferences >
Extensions > Sandbox Tools), at which point you should be able to open the Sandbox
toolbar (View > Toolbars > Sandbox).
Figure 5.38 The Sandbox toolbar.
Once you’ve selected all the contour lines (Mac: Command+A; PC: Ctrl+A), you can NOTE Choose
then choose the From Contours tool and SketchUp will create a terrain surface by Edit > View
triangulating the endpoints of the contour lines. The surface is automatically created Hidden Geometry to
view and edit the
as a new group.
individual edges and
For more information about the basics of using the Sandbox tools, check out the video faces that make up
tutorial The SketchUp Show, Episode 17: “Sandbox Part Deux,” included on this book’s the terrain.
DVD or online at www.go-2-school.com/Real-World-Google-SketchUp-7.
WORKING WITH 3D CAD FILES

More and more companies are finding new ways to use SketchUp to complement work
done in other 3D modeling applications. For example, architectural design firms often
face major design revisions late in a project or during construction, at which point a
highly detailed 3D model may have already been drawn in another CAD application. In
such cases it’s often more efficient to use SketchUp to quickly visualize and evaluate alter-
native design scenarios prior to, or in lieu of, making time-consuming changes in CAD.
Manufacturing companies often use 3D programs like Solidworks or Autodesk Inventor
for product design as well as the creation of engineering and manufacturing specs. The
models created in those programs, however, can’t provide the marketing benefit compa-
nies receive by distributing 3D product information via the 3D Warehouse.
The process of importing 3D CAD files is typically a bit more straightforward than
that of importing 2D files. Because the model imports in 3D, there may not be much
work to do on the 3D modeling side of things. However, some interesting things often
happen in the process of importing CAD files. The most common issue is that when
models are saved in DXF format from whatever program they were modeled in the
first place, the surfaces are wildly triangulated. When the files are imported into
SketchUp, there are often tons of extra visible edges in the model.
Making It Look Good

You can follow along with this example by downloading the model “Eames Molded
Plywood Dining Chair author:SmartFurniture” from the 3D Warehouse.
You’ll also want to download and install the Delete Coplanar Edges Ruby script
([CASF]DelCopEdges.rb) from the Ruby Library Depot (www.crai.archi.fr/
RubyLibraryDepot/Ruby/en_geo_page.htm).
This model of an Eames chair illustrates some common issues with importing 3D
CAD files into SketchUp—not the least of which is how fugly they look.
The process for getting this thing to look good in SketchUp is twofold: smooth out
the normals, and get rid of the unnecessary coplanar edges.
WORKING WITH 3D CAD FILES 101
Normal edges define an angle (between 0 and 180 degrees) between two faces.
Coplanar edges are drawn between two faces that lie in the same plane. Checking
both boxes in the Soften/Smooth dialog would smooth out everything. While that’s
useful for some things, in this case it’s a shortcut that would leave us with a bunch of
unnecessary geometry taking up file size. Better just to use the slider to smooth the
normal edges and then delete the coplanar ones.
1. Using the Select tool (V) , triple-click the model until you’ve selected all the
edges and faces of the back of the chair (Figure 5.39).
Figure 5.39 Triple-

click with the Select
tool to select all edges
and faces on the back
of the chair.
Model courtesy of SmartFurniture.com
2. Right-click the selection and choose Soften/Smooth Edges from the context
menu.
3. Check the box for Smooth Normals, and then move the slider over to about
45 degrees (Figure 5.40 on the next page).
Figure 5.40 Smooth

edges with normal
angles less than or
equal to 45 degrees.
4. Right-click the selection again and choose Delete Coplanar Edges from the con-
text menu (Figure 5.41).
Figure 5.41 Delete

the coplanar edges.
NOTE The
Delete Coplanar
Edges script is pretty
reliable, but in some
cases you may see
faces disappear. If
needed, you can man-
ually erase the copla-
nar edges with the
Eraser tool instead.
WORKING WITH 3D CAD FILES 103
5. Repeat these steps until all pieces of the chair are smoothed out (Figure 5.42).
Figure 5.42 The

smoothed-out chair
looks better and
contains less excess
coplanar geometry.
Teeny Tiny Bits

When you’re working with CAD files (3D CAD files in particular), you may notice that the
teeny tiny bits are tough to work with. At the extremes of the size spectrum (really small
or really big), SketchUp is a bit finicky. Some of that has to do with the Units settings
and some of it has to do with SketchUp’s limitations and tolerances.
If you’re having trouble working with tiny geometry that you’ve imported into
SketchUp, try adjusting the Units settings in the Model Info window. Choose a setting
with the highest tolerance. For example, set the units to Decimal Inches with a tolerance
of 0.000000", and uncheck Length Snapping.
If that still doesn’t get the job done, another option would be to use the scale tool
to scale up the geometry by a factor of 10 or even 100. SketchUp’s tolerances should
then be suitable for working on the oversized objects. Once you’re done you can scale
the geometry back down by a factor of .1 or .01, depending on the factor you used to
scale up.
Additional Resources
By now you should have a pretty decent understanding of the many ways you can
begin to incorporate a variety of CAD file types and formats into your workflows.
Working with CAD files is one of the more complicated topics when it comes to using
SketchUp professionally, and one that generates a lot of questions. For more informa-
tion on this subject be sure and check out the video tutorials that were included on the
DVD that came with this book.
You might also want to look into the following resources:
• The SketchUp Show, Episode 20: “Working with CAD”
(www.go-2-school.com/Real-World-Google-SketchUp-7)
• Google SketchUp Pro Series - SketchUp + CAD Instructional DVD
(http://www.go-2-school.com/products/view/10)
• Google SketchUp for Site Design: A Guide for Modeling Site Plans, Terrain and
Architecture by Daniel Tal (Wiley, 2009)
105
chapter
six
Importing Images
There’s truly something awesome about the process of taking a 2D image and
manipulating it in 3D. For the most part, it’s just fun, but the ability to effec-
tively import images into SketchUp provides a tremendous advantage for
designers. That statement holds especially true for those skilled in traditional,
hand-drawn media. As you’ll see later in this chapter, SketchUp can provide a
wonderful bridge between hand-drawn imagery and 3D computer modeling.
In addition, SketchUp’s ability to import digital photographs, such as a picture
of an old wooden door or a shiny new stainless steel appliance, can help lend a
tremendous amount of realism to your model.
SketchUp’s image import options also provide users with a way to leverage
the vast hoards of digital photos that can be found and downloaded via
Google Image Search and Google’s Street View imagery database.
Regardless of the type of image you’re planning to import, the process starts
from the File > Import menu options (Figure 6.1 on the next page). From
the image import dialog you are given three options for importing an image
into SketchUp: 1) Use As Image, 2) Use As Texture, and 3) Use As New
Matched Photo.
106 CHAPTER 6: IMPORTING IMAGES
Figure 6.1 Image

import options.
Before diving into the particulars of the actual image import options, I have some
information to share about optimizing your images and saving them in an appropriate
image file format.
CHOOSING AN IMAGE FILE FORMAT

SketchUp supports the import of a wide variety of image file formats, including JPEG,
TIFF, PNG, BMP, PDF (Mac only), TGA, and GIF. So are there any differences
between these formats, and if so, what considerations should be taken into account
when trying to decide which format to import?
Alpha Channel Transparency

In addition to the Red, Green, and Blue color channels that combine to define the
color of the pixels in an image, the alpha channel stores information about the trans-
parency value of each pixel in an image. PNG, TIFF, PSD, and PDF image formats
will retain alpha channels. Say, for example, that you’ve edited an image of a tree in
Photoshop to crop out the background. If you save the file in a format that retains the
alpha channel, SketchUp will be able to interpret the background as being transparent;
otherwise, the background will show up as white (Figure 6.2).
One potential downside to consider when deciding whether to import images with
transparent backgrounds—any image file with transparent pixels (whether in PNG,
CHOOSING AN IMAGE FILE FORMAT 107
PSD, TIFF or PDF format) applied as a texture to a face in SketchUp will not receive
shadows.
Figure 6.2 The

image on the left
is a TIFF that can
retain a transparent
background even
when imported into
SketchUp. The image
on the right is a
JPEG—a format that
converts transparent
backgrounds to solid
white.
Image File Size

When you import an image file into SketchUp, your SketchUp file will increase in
size by the same amount as the file size of the image. TIFF files and PSD files are
uncompressed file formats. On the one hand, they look great, and if you’re working
with layered PSD or TIFF files in Photoshop, you don’t have to flatten the images
before importing them into SketchUp. On the other hand, saving your image as a
compressed file format (such as JPEG or PNG) before importing into SketchUp will
generally result in much smaller SketchUp file sizes.
The Versatility of PNGs

You’ll probably find that most image-editing applications have an option for saving
files as PNG (Portable Network Graphic) format. The PNG format is a compressed
file format, it looks great, and it retains alpha channel transparency.
In Photoshop, for example, you can use the option Save for Web and Mobile Devices
to save PNG images that retain transparency (Figure 6.3 on the next page). This is a
great option in situations where you’ve had to crop an image to create a transparent
background—or for reducing the file size of your images.
Image Size (in pixels): 1110 x 1350 Image Size (in pixels): 1110 x 1350 Image Size (in pixels): 1110 x 1350
File Size (in kilobytes): 6.500 File Size (in kilobytes): 556 File Size (in kilobytes): 612
Figure 6.3 A TIFF file on the left, PNG in the middle, and JPEG on the right. You can see that the PNG file is much smaller
than the TIFF, looks crisp, and also has a transparent background.
IMPORTING AN IMAGE AS AN
IMAGE OBJECT
This import option results in creating image objects that are unique in that they are
unlike any other kind of SketchUp entity. Despite having a protective wrapper around
them (they resist stickiness), they are not defined as groups or components. They have
faces, but the edges that define the face are not visible. They are textured and yet the
textures don’t appear in the In Model material library. They simply are what they are:
image objects. The following examples are intended to highlight scenarios in which
this image import option can be most effectively utilized.
Some of the files you’ll need to follow along with the examples in this section can be
copied from “Chapter 6_Importing Images” on the companion DVD or downloaded
from the “Real World Google SketchUp 7 - Sample Files” Picasa album at “http://
picasaweb.google.com/tadrosio/RealWorldGoogleSketchUp7SampleFiles.”
IMPORTING AN IMAGE AS AN IMAGE OBJECT 109
Gluing Image Objects—Signage

A useful feature of imported image objects is that they will automatically “glue” to an
existing face in the model if you import an image directly onto it. The gluing action
A) keeps the image aligned and attached to the plane of the face that the image is
imported onto and B) keeps the image from “Z-fighting” (see Figure 6.4) with any
textures that may have been applied to the existing face. Both features make this option
a good choice for importing images of posters, artwork, logos, signage, architectural
elements, etc.
Figure 6.4 Z-fighting

refers to the fluttering
effect that appears
when two faces with
different textures lie
parallel to each other
in the same plane.
Art.com is a great Web site for finding downloadable images of artwork and posters
and getting dimensions for the framed pieces for personal, noncommercial use. In this
example I’ll use an image of one of my own framed sketches. You can copy the image
for this example from the accompanying DVD or from the Real World Google
SketchUp 7 Sample Files Picasa album online at http://picasaweb.google.com/tadrosio/
RealWorldGoogleSketchUp7SampleFiles. Note that actual dimensions for this frame
are 27 inches wide by 39 inches high.
1. Start by downloading the sample file for this example (titled Framed
Art_27x39.jpg) from the companion DVD, or from the Real World Google
SketchUp 7 Sample Files Picasa album (picasaweb.google.com/tadrosio/
RealWorldGoogleSketchUp7SampleFiles).
2. Draw an 8-foot cube in SketchUp. (Optional: For illustration purposes, I’ve added
a brick texture to the front face of the box and a 2D person for scale; Figure 6.5
on the next page).
Figure 6.5 An 8-foot

cube with a brick
texture.
3. Go to File > Import. Choose the option for “All Supported Image Types”
from the File Format drop-down menu and choose the option Use As Image.
Navigate to the image file and choose Import.
4. Once imported, the image will be attached to the cursor (Figure 6.6).
Figure 6.6 Enter

a width or height
dimension during
the import process
to size the image
appropriately.
5. Click once to set the insertion point, move the cursor out to size the image, and
then click a second time to set the image in place (Figure 6.7).
NOTE If you know the overall dimension (height or width) you can type in the dimensions as
you’re importing the image. If you know the height (in this case 39"), stretch it vertically and
type in the dimensions; if you know the width (in this case 27"), stretch it horizontally and type in the
dimensions.
Figure 6.7 When

image objects are
imported onto an
existing face, the
image is glued to
that face. The gluing
behavior will elimi-
nate any Z-fighting
that typically occurs
when two parallel
faces with different
textures are placed on
top of each other.
If you try to move the image around you’ll see that it’s glued to the face that you NOTE After you
imported it onto. Likewise, if you try to move or Push/Pull the face of the box, you’ll unglue the
notice that the image moves with it. If you ever need to detach the image from the image object, you’ll
have to move it an inch
face, right-click it and choose Unglue from the context menu.
or two off the face in
order to keep the tex-
tures from Z-fighting.
Placing Free-Floating Images—Backgrounds There is no option to
The previous example illustrates an option for importing an image object directly onto a Re-glue, so once you
face—in which case the image will be glued to the face on which it is imported. Unglue, you would
either have to Undo
Another option is to simply import the image into the model as a free-floating object. back, or reimport the
A common scenario for utilizing this option would be the creation of a backdrop or image.
background image.
JC Backings is a company in Hollywood that rents out large-scale background images
for use on film and stage sets. Its Web site (www.jcbackings.com) is full of all kinds of
great background images that can be pulled into SketchUp. Whether or not you’re a film
and stage pro, this workflow process is valuable for creating models that require an
accurate representation of a background.
1. Start by going to the JC Backings Web site, and search for image #CT-641
(Figure 6.8).
Figure 6.8 Search

for the background
image #CT-641 from
the JC Backings
Web site.
NOTE JC Backings is an example of a professional site that film and stage folks might check
out to search for specific background images. For generic imagery you could substitute
Google Images (http://images.google.com/) in Step 1 and search for and download images of just
about anything.
2. Right-click the image and choose Save Image As to save the image to your com-
puter’s hard drive (Figure 6.9).
3. Go to File > Import and choose the options All Supported Image Formats and
Use As Image. Then navigate to the file and choose Import.
4. Click once to set the insertion point of the image, and then scale the image up and
click a second time to set the image in place.
The real-world dimensions for this image are listed on the JC Backings Web site.
In this case, we know that it is 14 feet tall in real life. So when you’re sizing the
image initially, you can move the cursor along the vertical edge of the image and
type in 14' and press Enter to set the image at the correct size (Figure 6.10).
Figure 6.9 Right-click

the image and save it
to your desktop.
Image © JC Backings
Figure 6.10 Click

once to set the inser-
tion point for the
image, and then type
in a dimension while
sizing it.
5. At this point we could reasonably assume that if we sized the height dimension NOTE Another
correctly (at 14'), the width should end up equal to 60' (per the dimensions listed way to import
on the JC Backings Web site). However, if you use the Dimension tool files as image objects
is to drag the image
(Shift+D) to verify that assumption, you’d see that the image is actually measur-
files from a file browser
ing out at around 60'6½"—so it looks like somehow the aspect ratio of this image
window into your
got tossed around a bit (Figure 6.11 on the next page). SketchUp drawing
window.
Figure 6.11 Double-

check the aspect ratio
of images down-
loaded from the Web.
6. Type in 60' and press Enter while using the Scale tool (S) to scale the model
horizontally and fi x the proportions of the backdrop image to correspond to its
actual real-world size (Figure 6.12).
Figure 6.12 Use the

Scale tool to fix any
issues with aspect
ratio.
7. Use the Rotate tool (R) to tilt the image up. Start with a click-drag along the
bottom edge of the image to set the axis of rotation, then click anywhere on the
image to start tilting it up, and click a third time to set the angle of rotation. For
accuracy, type 90 and press Enter (Figure 6.13).
Figure 6.13 Use the

Rotate tool to tilt the
image up.
8. The Move tool (M) is an obvious choice for getting the image positioned in
the right place in the model. Remember too, though, that the Move tool also
works for rotating the image. When you hover over the image with the Move tool,
you’ll see little red crosshairs. If you hover over the crosshairs, the Move tool will
turn into a Rotate tool, at which point you can click to start rotating the image
about its center along either of the axes (Figure 6.14).
Figure 6.14 The

Move tool is useful for
moving and rotating
images.
Plans and Elevations

The process described in the previous section can be taken yet a step further. A com-
mon scenario for this next example is when you’re working with hand-drawn imagery
such as plans and elevations, especially those that are drawn to scale. This example
shows a process you can use to take a 2D image of a Kitchen Elevation that was drawn
at 1 inch to one-quarter inch scale and turn it into a 3D model.
The sample files for this example can be copied from the companion DVD—or you
can download them from the Picasa Web album at http://picasaweb.google.com/
tadrosio/RealWorldGoogleSketchUp7SampleFiles.
1. Go to File > Import. Choose the option for All Supported Image Types from
the File Format drop-down menu, and choose Use As Image. Navigate to
Kitchen_Elev.jpg and choose Import.
2. Click once to set the insertion point of the image, scale the image up, and click a
second time to set the image in place (Figure 6.15). Don’t worry about the image
scale quite yet; we’ll get to that in Step 9.
Figure 6.15 Place

Kitchen_Elev.jpg
into the model as an
image object.
3. Use the Rotate tool (R) to tilt the image up. Start with a click-drag along the
bottom edge of the image to set the axis of rotation, then click anywhere on the
image to start tilting it up, and click a third time to set the angle of rotation. For
accuracy, type 90 and press Enter (Figure 6.16).
Figure 6.16 Use the

Rotate tool to tilt the
image up.
4. Right-click the image and choose Explode.

5. With the Select tool (V) , double-click the image to select the face as well as the
edges. Then right-click and choose Make Group (Figure 6.17).
Figure 6.17 After

exploding the image,
select the face and
edges and group
them.
NOTE When
you explode an
image object, you will
then have the ability to
edit the face and the
edges that define that
face. The image is also
converted into a pro-
jected texture.
6. Then double-click the image again with the Select tool to go into Edit Group
mode (Figure 6.18).
Figure 6.18 When

you’re in Edit Group
mode you should
see a dashed black
bounding box around
the image.
In the previous example we looked at scaling an image during import. That

option works well when you happen to know the overall dimension of an image.
In this case, we instead know that the counter top is 36" tall. That’s not a dimen-
sion we could have used to scale the image from the onset, but we can use that
dimension now, by scaling the image with the Tape Measure tool.
7. Take the Tape Measure tool (D) and click once at the top of the counter, then
click at the bottom of the counter, and then type in the dimension for the distance
that should be between the two points. In this case, enter 36 (Figure 6.19).
Figure 6.19 Use the

Tape Measure tool to
scale the group based
on the known dimen-
sion of the image.
8. When SketchUp asks, “Do you want to resize the active group or component?”
click Yes.
9. Now that the image has been scaled, you can use the drawing tools to trace the
outline of the cabinetry. Start by using the Rectangle tool (N) to trace over a
section of the base cabinets (Figure 6.20).
Figure 6.20 Trace

over the base
cabinets with the
Rectangle tool.
10. Using the Push/Pull tool (Q) , pull out the base cabinet section (Figure 6.21).
Enter 24 to set the dimension of the base cabinets 24 inches deep.
Figure 6.21 Pull the

base cabinets out 24
inches.
11. Adjust the size of the base cabinets by Push/Pulling the top, bottom, or either of
the side faces.
12. Use the Rectangle tool (N) to draw rectangles on the top of the counter for the
tall cabinets and built-in appliances.
13. Push/Pull (Q) the rectangles up from the counter (Figure 6.22). Adjust the
dimensions on the sides if necessary.
Figure 6.22 Pull

the Tall cabinets up
from the counter and
gauge the height of
the top of the cabinet
based on the image
texture.
14. Trace over the wall cabinets with the Rectangle tool (N).
15. Then take the Push/Pull Tool (Q) and pull those out 12 inches (Figure 6.23).
16. At this point you may want to save the work you’ve done in this example because
we’ll reference this model again later in the book.

wall cabinets out 12
inches.
Figure 6.24
Imported images
of hand-sketched
designs can be
combined with
sketchy styles for 3D
conceptual design
presentations.
If you want to take this model a bit further, you could use the Follow-Me tool to
model the crown molding around the tops of the upper cabinets. And you can check
out the section “Sampling Onscreen Colors” in Chapter 7 for more information on
how to get rid of the streaky textures on the sides of the cabinets. In the real world,
depending on the phase of the project or the type of information you need to com-
municate, you could either leave the sketchy texture stuff in there and call it a wrap
(Figure 6.24), or you could download a bunch of 3D cabinets and appliances from the
3D Warehouse to flesh out the design with actual products (Figure 6.25).
Figure 6.25 Replace

the sketchy textures
with real-world
products from the
3D Warehouse for
detailed design
drawings.
IMPORTING AN IMAGE AS A TEXTURE 123
Importing PDFs
Plans and elevations are commonly transferred in PDF format. If you’re hoping to
import a PDF into SketchUp, you’ll first want to determine what kind of PDFs you’ve
got. They actually come in two different varieties: raster format and vector format.
Rasterized PDFs aren’t much different than a bunch of JPEGs, so whether you
import those directly or save them out as JPEGS and then import—the results are
pretty much the same.
Remember too, that direct import of the PDF format is only supported on the Mac
OS. So if you’re working on a Windows PC, you’d have to use Acrobat (or equivalent)
to export the pages of your PDF file as a series of JPEGs or TIFFs and then import
those instead.
Vector-Based PDFs are more commonly exported from CAD programs—and they’re
a whole different story. Vector lines are far more accurate than their rasterized counter-
parts, and in most cases you can extract the edges and endpoints from the PDFs.
To extract the vector line work you first need to open the PDF in Adobe Illustrator, at
which point you would then be able to edit and manipulate the edges. Illustrator also
has an option to export the vector line work as a DWG file. After exporting as a DWG
file from Illustrator, you could then import the DWG file into SketchUp and utilize
the processes outlined in Chapter 5.
Mac users: If you forgo the Illustrator workaround (or simply don’t have Illustrator)
and end up importing a vector-based PDF directly into SketchUp, the file will auto-
matically be converted into a raster graphic with a transparent background—at which
point you can use the method outlined in the previous section to turn the image into a
3D model.
IMPORTING AN IMAGE AS A TEXTURE

This section explores various ways to utilize the image import option Use As Texture.
As the name suggests, this option is the most effective way to import an image directly
onto a face in the model and have that image automatically behave as a tiled texture.
It’s also a great way to add detail to a model without actually having to model every-
thing in 3D.
Projected Versus Tiled Textures

Before getting into the specifics for importing texture images into SketchUp, it’s
important to understand the difference between the two fundamentally different types
of SketchUp textures: those that are projected, and those that are not (referred to simply
as tiled textures).
The difference between these two textures is evident in the ways in which they are
displayed when applied to different kinds of surfaces.
Tiled textures. You can think of tiled textures as behaving kind of like wrapping
paper. Whatever the pattern is—brick, wood, tile, or birthday balloons—it doesn’t
matter; the image will keep repeating on and on in all directions to fill whatever face
the texture is applied to. When the texture gets to an edge, it will simply wrap around
the corner and keep repeating to fill the next face, and so on. Tiled textures work
really well for walls and boxes but aren’t all that great for texturing curved or complex
curved surfaces like spheres or terrain models.
Projected textures. You can think of projected textures as behaving kind of like a
video projector. Projected textures are similar to tiled textures in the sense that the
patterns repeat over and over in all directions to fill whatever face the texture is
applied to. However, instead of wrapping around corners, a projected texture will stay
aligned in reference to the face on which it was originally placed. In essence, the face
to which a projected texture is applied will function similar to an actual real-world
projector, in the sense that the texture can be projected from that face onto any other
surface in the model. Projected textures work great for curved and complex curved
surfaces like spheres, cyc walls (curved walls typically used as film or photography
backdrops), and terrain models (Figures 6.26 and 6.27).
Figure 6.26
Comparison of tiled
(left) versus projected
(right) textures on a
box.
Figure 6.27 Comparison of tiled (left) versus projected (right) textures on a terrain. © 2009 Google
To toggle a texture back and forth from projected to tiled, right-click any textured face
and choose Texture > Projected from the context menu. A check mark indicates that a
texture is projected; no check mark means it’s tiled.
Creating and Importing Cropped Textures

Generally speaking, I tend to encounter two main scenarios where it makes sense to
crack open Photoshop and edit an image before importing it into SketchUp: 1) I need
to crop an image down to the part that I intend to use
in SketchUp; 2) I want to use a portion of an image and create a pattern that will tile
as a seamless texture.
Since I’ve only got so many pages, this section will look at the first, and less involved
of the two scenarios, which deals with basic cropping techniques and the import of
cropped images into SketchUp.
The sample files for this example can be copied from the companion DVD, or you can
download them from the Picasa Web album at http://picasaweb.google.com/tadrosio/
RealWorldGoogleSketchUp7SampleFiles.
1. Start by opening the image Thailand.jpg in an image editing program such as
Photoshop.
2. Using the Crop tool (C), select a region around the door in the middle of the screen
Figure 6.28 Drag a

region around the
door using the Crop
tool.
NOTE If you
don’t have
access to an image
editing program like
Photoshop or Gimp,
you can skip ahead to
Step 6 and use the
cropped version of the
image titled Thailand_
Cropped.jpg.
3. Check the box for Perspective correction (Figure 6.29).
Figure 6.29 Check

the Crop tool option
for Perspective
correction.
4. Drag the corners of the crop selection to align to the corners of the doorway
(Figure 6.30).
Figure 6.30 Drag the

corners of the crop
region to align them
to the corners of the
door.
5. Drag the center point until you feel it snap to the center of the cropped area and
then press Enter to crop the image and correct the perspective distortion.
You should end up with an image that looks like Figure 6.31, which you can then
save as Thailand_Cropped.jpg.
Figure 6.31 The resulting

cropped image.
6. Now head over into SketchUp and start by drawing an 8-foot cube.
7. Go to File > Import. Choose the option for All Supported Image Types from the
File Format drop-down menu, and choose the option Use As Image. Navigate to
the image file Thailand_Cropped.jpg and choose Import.
8. Click once on a face to set the insertion point of the image, and then scale the image
up and click a second time to set the image in place (Figure 6.32 on the next page).
Figure 6.32 The Use

As Texture option
allows you to place a
tileable image texture
directly onto a face.
9. To correct the size and position of the texture, right-click the texture and choose
the context menu option Texture > Position Texture.
10. Then right-click the image a second time and make sure that the option Fixed
Pins is checked (Figure 6.33).
There are two different pushpin modes for positioning textures: Fixed Pin mode and
Free Pin mode. You can check or uncheck the Fixed Pins option to toggle between
the two modes. For cropped images, you’re better off using the Fixed Pin mode.
Figure 6.33 While

in Texture Position
mode, right-click and
make sure Fixed Pins
is the active pushpin
mode.
Why Do My High-Resolution Images Look So Crummy?

In Chapter 1, “Setting Your SketchUp 7 Preferences,” we looked at the Open GL setting (Window > Preferences >
Open GL tab) for Use Max Textures Size.
By default, that option is left unchecked, and as such, SketchUp will downsample any imported image to a maximum
width resolution of 1024 pixels wide. With the Use Max Texture Size option checked on, SketchUp will display the
maximum resolution allowable based on your computer’s graphics capabilities. Note: this option will only improve
the visual quality of images that you’ve imported with a fairly high native resolution. Many of the images you
download from the Web will be low resolution, and no matter what you do those kinds of images will look grainy
when you zoom in close to them in SketchUp.
While your textures may look a heck of a lot better with the Max Texture Size option turned on, the trade-off of
performance degradation may not be worth it for day-to-day use. If SketchUp slows considerably you can go back,
turn the preserve Max Texture Size option off, and reserve its use for renderings and presentations.
11. In Fixed Pin mode you’ll notice that the pushpins are all different colors (Figure
6.34). You can click and drag the pins to the corners of the face to get the texture
to fit perfectly. The most effective way to manipulate the pushpins is to position
them in the order: Red, then Green, then Blue (RGB).
The Red pushpin allows you to move the image, the Green pushpin lets you
rotate or scale the image, and with the Blue pushpin you can shear the image or
scale it vertically.
Figure 6.34 Align the

pushpins to the cor-
ners of the box. Go in
the order R, G, B.
NOTE If you make a mistake, don’t use Edit > Undo (Cmd+Z)! The texture position process has
its own special Undo/Redo options that show up if you right-click while in Position Texture
mode. There is also an option for Reset, which will restore the image to the original state it was in
when you first imported it onto the face.
12. Right-click and choose Done to exit the Texture Position mode.
13. Save your work: We’ll keep working with this file in the next section.
If the proportions of the size of the texture relative to the size of the face are working
for you, great—if not, you’re free to change the size of the box or go back into Texture
Position mode and change the size of the texture.
There are a couple options for changing the size of the box/texture:
• The image texture is a tiled texture, so if you Push/Pull, or Move the end of the
box to make it longer, the texture will continue to repeat (Figure 6.35).
Figure 6.35 If you

Push/Pull the end of
the box, the textures
will keep tiling.
• If you use the Scale tool to change the size of the box, the texture will scale rela-
tive to the size of the face (Figure 6.36). Then if you Push/Pull or Move the end
of the box, the texture will repeat and keep whatever proportions you scaled it to.
Figure 6.36 Scaling

the entire box also
scales the textures.
Seamless Textures
To check out a couple of methods for creating seamless textures for wood flooring, bath-
room tile, kitchen countertops, and organic landscape material, check out The SketchUp
Show, Episode 40: “ImageSynth & SketchUp,” and Episode 41: “Creating Tileable Textures”
video tutorials included in this book’s companion DVD and online at www.go-2-school.
com//Real-World-Google-SketchUp-7.
Imagesynth (www.luxology.com/whatismodo/imageSynth/) and Filter Forge (www.
filterforge.com/features/) are two great Photoshop plug-ins that are useful for creating
seamless textures. If creating seamless textures isn’t the kind of thing you’re into, all is
not lost; you can cut to the chase by downloading seamless image textures from Web
sites like Form Fonts (www.formfonts.com) and Filter Forge (www.filterforge.com/filters).
Working with Perspective Photos in SketchUp

The previous example dealt with images that were first cropped nicely, and then
imported into SketchUp. In this example we’ll look at ways of working with and crop-
ping perspective images directly in SketchUp.
download them from the Picasa Web album at http://picasaweb.google.com/tadrosio/
1. Go to File > Import. Choose the option for All Supported Image Types from the
File Format drop-down menu, and choose the option Use As Image. Navigate to
the image file Brick_Wall.jpg and choose Import.
2. Click once on a face to set the insertion point of the image, and then scale the
image up and click a second time to set the image in place (Figure 6.37).
Figure 6.37
Perspective photos
can also be placed on
faces as textures, and
then cropped directly
in SketchUp.
3. Right-click on the image and choose Texture > Position Texture.

4. Right-click again and uncheck Fixed Pins to toggle into Free Pin mode
(Figure 6.38). In Free Pin mode you’ll notice that the pushpins are all colored
the same yellowish color.
Figure 6.38
Free Pin mode works
kind of like the per-
spective crop tool in
Photoshop.
5. The goal for this next step is to place the pushpins such that they define the
bound of the portion of the image that you want to use for your texture. In this
case we want to be somewhat particular about the tops and sides of the region of
brick we define so that the cropped texture can repeat seamlessly.
To manipulate the position of the pins, click and release to pluck the pin out from
the image, move it over, and then click a second time to stick the pin back into the
texture (Figure 6.39).
Figure 6.39 Place

the pins at the cor-
ners of the area that
you want to use as a
texture.
6. The next step requires you to click and drag each of the pushpins to the corre-
sponding corners of the face. Midway through the process, the image may start to
look real funky, but once you’ve placed all four pins, the texture should fit nicely
on the face (Figure 6.40).

pins to the corners
of the box to get the
texture to fit perfectly
on the face.
7. Right-click and choose Done to exit the Texture Position mode.

8. Right-click again and choose Make Unique Texture from the context menu. This
option saves a cropped version of the texture so you don’t have to do the pushpin
thing again.
9. Take the Paint Bucket tool (P), and then press and hold Alt while clicking on the
texture to sample it. Then let go of Alt and click to paint the brick texture around
to the other faces (Figure 6.41). Images imported directly as textures behave as
tileable textures, so you’ll see the brick wrap nicely around the corners of the box.
Figure 6.41 Use the

Paint Bucket tool to
sample and paint the
unique texture onto
the remaining sides
of the box.
I’ve included an additional image of Spanish roofing tiles among the sample files. You
can use that image to practice working with the procedures outlined in this section
(Figure 6.42).
Figure 6.42 A roofing

texture can be applied to
finish off this model.
Importing Street View Imagery as a Photo Texture

In addition to the myriad options for importing imagery into SketchUp we’ve
explored so far, Google has gone a step further in terms of creating photo-textured
models of real-world buildings by allowing you to directly import imagery from the
Google Maps Street View.
Since Street View imagery, is by its nature linked to a specific location, the option for
importing Street View imagery can leverage any kind of location-based information
that you may have assigned to your SketchUp model.
The following example takes a look at the interconnectedness between SketchUp,
Google Earth, and SketchUp’s new Get Photo Texture tools.
1. Launch Google Earth and search for the Peachpit Press office by searching for
“1249 8th Street, 94710.”
2. Zoom in to the Peachpit Press building and press R to reset the view (Figure 6.43).
Figure 6.43 Search

for the Peachpit Press
office in Google Earth.
3. Go back to SketchUp and click the Get Current View button to import the site
into SketchUp (Figure 6.44).
Figure 6.44 Import

the current view from
Google Earth into
SketchUp.
4. Use the Pencil tool (L) to trace an outline that matches the footprint of the
building and then use the Push-Pull tool (Q) to pull the box up 18 feet
(Figure 6.45).
Figure 6.45 Draw

an 18-foot-tall box
aligned to the foot-
print of the Peachpit
Press building.
NOTE You can 5. Right-click the west side of the building and choose Get Photo Texture from the
also open the Context menu.
Photo Textures window
via the Window menu. The Photo Textures dialog (Figure 6.46) automatically shows available street
view imagery for the face that you right-click. You can click and drag the bottom-
left corner of the window to make it bigger, and you can use the street view win-
dow or the map to navigate and pan around to find the best street view of the
building. In some cases, the best view might be off to the side a bit, where you can
see past any trees, cars, or signs that might block your view.
Navigation Zoom In/Out Forward/Backward Minimize/Maximize Select Region

toolbar controls navigation Map window button
Figure 4.46 The

Photo Textures dialog.
© 2009 Google
Map view Address bar Resize window
6. Click the Select Region button and then drag the blue push pins to choose the
part of the image that you want to use as a photo texture (Figure 6.47).
Figure 6.47 Drag

the blue push pins
to define the part of
the image you want
to use as a photo
texture.
© 2009 Google
7. Click the Grab button to apply the Street View image to the face of the building.
You can then minimize or close the Photo Texture dialog to see how the model
looks with the texture applied (Figure 6.48).
Figure 6.48 Click

Grab to apply the
Photo Texture to the
model.
Depending on the results from Step 7, you can edit the building and the applied
textures (using the methods described earlier in this chapter).
NOTE You can 8. Model the parapet wall based on the information available from the Street View
use the Paint and satellite images (Figure 6.49).
Bucket tool to sample
the black-and-white The street view image that was imported in Step 7 provides a relatively unob-
satellite image from structed view of the southwest corner of the building; however, the trees in the
the terrain and paint it view are blocking a large portion of the rest of the west elevation. To solve these
onto the roof to use as kinds of problems, you can break a face up into different pieces and import differ-
a reference for model- ent photo textures for each face.
ing the parapet wall
bordering the roof. 9. Use the Pencil tool (L) to draw a vertical line down the west face of the build-
ing between the green and white stuccoed areas, dividing the face into two parts
(Figure 6.49).
10. Right-click the northern section of the face with the texture of the trees blocking
the elevation and choose Get Photo Texture from the context menu. Then navi-
gate in Street view to find an unobstructed view of that section of the building
and repeat Steps 6 and 7 (Figure 6.49).
Figure 6.49 Grab an

unobstructed photo
texture of the north-
ern section of the
west elevation.
11. [Optional] At this point feel free to continue importing additional photo textures
onto other faces of the building (Figure 6.50).
Figure 6.50 The

completed SketchUp
model.
12. [Optional] Once you’ve finished modeling the building you can use the Place
Model tool to export the textured building to Google Earth and view your
model in context (Figure 6.51).
Figure 6.51 The

finished SketchUp
model in Google
Earth.
Here are few tips for getting the most out of Get Photo Textures:
• The Photo Textures dialog allows you to minimize the map window, thus maxi-
mizing the Street View window, so you can get textures of larger buildings.
• Get Photo Textures works regardless of whether you’ve imported a site from
Google Earth. You can type an address into the search bar at the bottom of the
dialog to search for and import Street View images from anywhere in the world and
bring those images into any SketchUp model.
• You can right-click any face in your model and grab a photo texture for that face
regardless of the size, scale, or shape of the face. SketchUp will create a clipping
mask in the Photo Textures dialog that mimics the outline of any irregularly
shaped faces.
Realism Redefined
Adding photos of real-world products and materials to your model can lend an aesthetic realism to your model
that may allow you to forgo the time-consuming process of creating additional photorealistic renderings with one
of the SketchUp rendering plug-ins or a third-party rendering application.
Figure 6.52 is an image of a SketchUp model I worked on for a developer where I textured just about everything
in the model—from the floors to the cabinets to the furniture to the coat rack—with various photos that we had
taken of the real materials and products that he wanted to use in the project. In addition to the ability to tour
through the 3D, textured model in real time, we were able to export dozens of images from the SketchUp model in
a matter of minutes without having to “render” the model in another application.
Figure 6.52 A more

realistic look can be
achieved by importing
photo textures through-
out a model.
IMPORTING AN IMAGE AS A MATCHED PHOTO 143
IMPORTING AN IMAGE AS A
M ATCHED PHOTO
It’s often said that a picture is worth a thousand words, in which case perhaps it would
be even more valuable to turn a picture into a 3D model. The concept of using com-
puters to convert 2D imagery into 3D models is technically referred to as photogam-
metry, and has been around since the mid-19th century. The applications for
modern-day photogammetry are fairly widespread. Truly automated photogammetry
is a complex process that often involves the use of advanced software and a ridiculous
amount of computing power.
Nowadays, slightly more hands-on programs like SketchUp and PhotoSynth provide
free and relatively easy-to-use tools for turning boring pictures into interactive 3D
experiences.
SketchUp’s photogrammetric tools are accessed via the image import option Use As
New Matched Photo. For most users, these tools generally serve two main functions:
• Creating a 3D model of a building or object from a photograph
• Aligning a 3D model to a photo of a background scene to establish the perspective
and alignment prior to exporting an image of the model for use in a composite
rendering
The next example illustrates the process of creating a 3D object (such as a building, piece
of furniture, etc). I cover the basic steps here; for some of the more involved steps, I’ve
listed some additional resources at the end of this section.
download them from the Crate & Barrel Web site (www.crateandbarrel.com).
1. Choose File > Import. Choose the option All Supported Image Types from the
File Format drop-down menu, and choose Use As New Match Photo. Navigate
to the file Abbott_1.jpg and choose Import.
2. The Match Photo interface includes a number of adjustable widgets and options
that we’ll look at, but first let’s take a quick tour of the drawing window interface
and the photomatch dialog (Figures 6.53 and 6.54 on the next page).
NOTE It’s possible to import multiple images through the Match Photo process. For example,
you might have a second image that showed the opposite view of an object. In cases where
you plan to use multiple images, you will want to choose a position for the model origin that is com-
mon between the photos, such as either the bottom-left or bottom-right corner.
Scene Tab for returning to Dashed Perspective

Match Photo view alignment guides “X” boxes
Horizon line Model axes Model origin Scale grid

Figure 6.53 The initial Match Photo drawing interface. Photo: Steven McDonald
Figure 6.54 The

initial Match Photo New Match Photo Edit Match Photo
dialog. Image Visibility toggle
Image Opacity slider
Model Visibility toggle

Project Textures button
Grid Visibility toggle
Grid Style options
Grid Plane Visibility options
Grid spacing
Done button
3. Click and drag the yellow origin box to drag the model origin over to the bottom-
front corner of the console (Figure 6.55).

yellow box to set the
model origin.
Photo: Steven McDonald
4. Click and drag the large “X” boxes to align the perspective bars to the perspective
references in the image (Figure 6.56). If needed, you can zoom in and out.

big “X” boxes to align
the perspective bars.
NOTE When
aligning the
perspective bars, it is
important to try to
align the bars to some-
thing level. Trying to
align to sloped ground
planes, roof lines, or
sloped ceilings won’t
work.
5. Set the grid spacing in the Photo Match dialog. The spacing could be something
general, such as 24", or it could be something specific to the dimension of the
object that you’re trying to model. In this case, we know that the furniture piece is
60" tall, so we’ll use that.
NOTE Depending on the kind of image you’re working with, you may want to tinker with the
grid style and grid plane display modes. The goal is to choose a grid style that will help you to
determine the scale of the model you’re trying to build. The first button generally works well for inte-
rior images and the third button works well for exterior images.
6. Click and drag either of the axes (preferably the blue axis) to alter the grid scale
until the spacing of one 60" grid square lines up to the height of the object in the
image (Figure 6.57).

axes to match the grid
spacing to a known
dimension in the
image.
NOTE If you
accidentally/pre-
maturely exit the Match
Photo setup, you can
either right-click the
background image and
choose the option Edit
Match Photo, or you
can click the Edit icon
(looks like gears) in the
Match Photo dialog.
Another note: If you
inadvertently orbit the
model, the image will
7. Click Done to exit the Match Photo setup so that you can begin modeling.
disappear. You can click 8. Start by drawing the base of the console with the Rectangle tool (Figure 6.58). In
the scene tab at the cases where you don’t have a complete set of measurements, you can get an
top of the drawing win-
acceptable level of accuracy simply by referencing the image. In this case, you can
dow to return to the
Match Photo view and enter the exact Depth and Width dimensions for a more accurate model: type
restore the background 20,52 and press Enter.
image.
Figure 6.58 Draw

the base with the
Rectangle tool.
9. Push/Pull the base up to the height of the console. Again, you can either approxi-
mate by referencing the image or enter the exact known height for the console:
type 62 and press Enter (Figure 6.59).

base up to the appro-
priate height.
10. Click the button “Project textures from photo” to apply the Match Photo image of
the console to the box (Figure 6.60).
Figure 6.60 Use

“Project textures from
photo.”
11. Since the model and the textures are dimensionally proportionate, you can
now use the image textures as a guide for fleshing out the rest of the details
(Figure 6.61).
Figure 6.61 Use the textures as a reference for modeling the details. Photo: Steven McDonald
12. Click the scene tab and reproject textures if necessary. You can also use Texture
Position tools illustrated in previous sections of this chapter to fine-tune the tex-
tures (Figure 6.62).
Figure 6.62 If the

textures degrade
while you’re modeling
the details, you can
click the scene tab at
the top of the page
and then reproject
the textures.
NOTE Reprojecting the Match Photo image will overwrite the textures for the entire model.
You can select a specific face(s) before reprojecting the image in order to overwrite the texture
for a specific face.
Match Photo is a great tool for applying textures to multiple faces of a model at the
same time, but it’s better to use Match Photo option to figure out the size and shape of
the model. Since Match Photo textures are projected onto a face, you’ll often notice
that they look OK from the angle that the image was taken, but from other views, the
textures might look rather streaky (Figure 6.63 on the next page). After having used
Match Photo to figure out the geometry for the model, you can import images that
were taken from head-on angles using the option Use As Texture to replace the
streaky textures with better-looking ones. Additional views of the console are provided
with the sample files for this chapter, in case you want to give that a shot (Figure 6.64
on the next page). I uploaded a fully textured model (Figure 6.65 on the next page) to
the 3D Warehouse as a reference for you to download and mess around with. Search
for “Abbott 52" Media Console.”
Figure 6.63 Match

Photo textures may
look good from the
angle that the picture
was taken but look
streaky from other
angles.
Figure 6.64 You

can replace streaky
textures by importing
texture images taken
from straight-on
angles.
Figure 6.65 You can

download the com-
pleted model from the
3D Warehouse. Search
for “Abbott 52" Media
Console.”
There are a wide variety of applications for the image import option for Match Photo.
For more information, you may want to check these resources. (Unless otherwise
noted, all are available at www.go-2-school.com/Real-World-Google-SketchUp-7.)
• The SketchUp Show, Episode 23: “Remodel Your Garage”
• The SketchUp Show, Episode 27: “Photomatch for Components”
• The SketchUp Show, Episode 34: “Photomatch and Compositing”
• The SketchUp Show, Episode 47: “Using Photomatch to Design a Kitchen”
• School Series Google SketchUp Level 2 instructional DVD
www.go-2-school.com/products/view/6
153
chapter
Seven
Mastering Materials
Chapter 6 covered the details of the options for importing images into
SketchUp. Just about every option and example outlined in Chapter 6 eventu-
ally led to some kind of tutorial for working with textures in SketchUp.
This chapter expands on the image importing options from Chapter 6 and
takes a look at the various options for creating and editing materials and tex-
tures using SketchUp’s Materials browser. We’ll also explore options for creat-
ing and organizing entire SketchUp material libraries.
As you’ll see in this chapter, there’s certainly no shortage of downloadable
images from the Internet that can be used straight out of the gate as SketchUp
materials. Just keep in mind that SketchUp is primarily a 3D computer-
modeling program, not an image editor. This chapter explores ways of turn-
ing just about any image into a SketchUp material, as well as the available
options for editing those images in SketchUp. However, the options for edit-
ing images in SketchUp are somewhat limited, so you’ll probably want to
keep Photoshop close by for those times when you need to do extensive
image editing work.
154 CHAPTER 7: MASTERING MATERIALS
M ATERIALS AND TEXTURES

The terms textures and materials will be used often in this chapter. The term texture
refers specifically to those materials with an image-based texture map.
The broader category of materials includes textures as well as any flat colors. As you’ll
see in this chapter, you can define color values for your SketchUp materials by enter-
ing numeric RGB, HSB, CYMK, and/or grayscale values.
Conceptually speaking, all textures are materials, but not all materials are textures.
You can open SketchUp’s Materials browser window via the Window menu
(Window > Materials) or by simply selecting the Paint Bucket tool (which will
automatically launch the Materials browser window).
The tools and options within the Materials browser allow you to create, edit, size, col-
orize, and organize your SketchUp materials. Based on the operating system you’re
using, the Materials browser may look and function a bit differently. Take a minute to
familiarize yourself with the Mac (Figures 7.1) or Windows (Figures 7.2 on page
156) version of the Materials browser window.
Image palettes SketchUp Color

Color sliders Picker
Color Wheel Crayons

Color Value
Sample Device RGB pane menu
onscreen color
Color Profiles
Library drop-
down menu
Color sliders
Color Chooser Darkness slider
Opacity slider
Temporary
Material palette
Figure 7.1a The Mac Materials Figure 7.1b The Mac Materials
browser window, Color Wheel tab. browser window, Color Sliders tab.
MATERIALS AND TEXTURES 155
Image library Back/Forward

menu
In Model library
Navigation menu
Color Chooser
pane Selection pane
List menu
Palette Options Color menu
menu
Opacity slider
Figure 7.1c The Mac Materials Figure 7.1d The Mac Materials
browser window, Image browser window, Color Picker tab.
Palettes tab.
Selection pane
Figure 7.1e The Mac Materials

browser window, Crayons tab.
Figure 7.2a Display/Hide

The Select tab con- Material Name Secondary pane
trols for the Windows Texture Preview icon Create Material
Materials browser Edit tab Default Material
shortcut
window. Select tab
Back/Forward Details tab
In Model library Navigation menu
Primary pane
Secondary pane
Figure 7.2b
The Edit tab controls
for the Windows
Materials browser
window.
Revert to Original Match Object Color
Match Screen Color
Color Wheel and

HLS/HSB/RGB sliders
Get New Image Texture

Use Texture toggle
Edit Texture Image
Colorize
Image Size
Reset Color
Opacity slider
CREATING AND MANAGING YOUR MATERIAL LIBRARIES 157
CREATING AND M ANAGING YOUR

M ATERIAL LIBR ARIES
Having organized content libraries—whether components, styles, or materials—makes
you far more efficient when using SketchUp in a professional workflow. If you’ve ever
stumbled around for a component or material while presenting to a client or working
with a co-worker, you know as well as anyone that disorganized libraries are time wast-
ers that can make you look like a fumbling hack. This section explores the options avail-
able for creating and managing custom material libraries in SketchUp.
The Materials browser includes a fairly long list of material libraries to choose from,
including wood, tile, roofing, groundcover, etc. However, I find it useful to create
additional libraries for specific projects (e.g., Kitchen Remodel), material types (e.g.,
Sustainable Finishes), and specific manufacturers (e.g., Oceanside Glass Tile).
Depending on whether you work on the Mac or Windows platform, the options for
creating and managing your material libraries are different enough that in some of the
sections below I’ve separated the instructions into two parts so you can follow which-
ever one is relevant to you.
Disclaimer: Technically speaking, the term library refers to the entirety of your
SketchUp materials. The materials library subfolders are referred to specifically as
collections on a PC and lists on a Mac. To simplify things, I refer to all material folders
(both the entire materials library as well as the collections/lists) as libraries. This section
illustrates the options for creating sublibraries for categorizing your materials within
the SketchUp Materials browser.
Creating a New Library from Scratch

The option to create a new material library from scratch is useful for setting up a
library for new material types (e.g., Sustainable Materials) that will eventually be
pooled together from any number of existing libraries.
PC Options:
1. Choose “Open or create a collection” from the Details menu .
2. When prompted, navigate to the SketchUp 7 Materials directory,
My Computer\C:\Program Files\Google\Google SketchUp7, and then
choose the option Make New Folder.
3. Give the new material library a name (e.g., Peachpit). By default, once the new
library is created, it will open in the primary pane (Figure 7.3).
Figure 7.3
Name the folder for
your new collection.
4. Click the Secondary Pane button and navigate to an existing library in the sec-
ondary pane from which you want to copy over a material (e.g., Wood; Figure 7.4).
5. Drag and drop the material from the existing library in the secondary pane to the
new library in the primary pane (Figure 7.5).
Figure 7.4
Navigate to an exist-
ing collection in the
secondary pane.
Figure 7.5
Drag and drop from
an existing collection
to the new collection.
Mac Options:
1. From the Color Picker tab in the Materials dialog, choose New from the List menu
(Figure 7.6), give the new library a name (e.g., Peachpit), and then click OK.
Note: By default, the new library will automatically be saved as a folder in the
SketchUp 7 materials directory located under Macintosh HD/Library/Application
Support/Google SketchUp 7/SketchUp/Materials.
Figure 7.6 Choose New

from the List menu.
2. Click the little round button at the bottom of the Materials browser to pull down
the temporary palette.
3. Navigate to an existing library from which you want to copy over materials for
your new library.
4. Drag a material from any of the existing libraries to the temporary palette below
(Figure 7.7).
Figure 7.7 Copy a material

to the temporary palette.
5. Navigate to the new material library, and then drag and drop the material up from
the temporary palette into the new library (Figure 7.8).
Figure 7.8 Drag and

drop the material
from the temporary
palette to the new
material library.
Aside from a general aversion to redundancy, I haven’t found a particular down-

side to putting copies of materials in a couple of different libraries (e.g., a project
library as well as a typological library). If anything, it makes it more intuitive to be
able to find a material in whichever library you might happen to look for it.
6. If for whatever reason you want to remove a material from one of the libraries (to
avoid redundancy), right-click the material and choose Delete from the context
menu.
Duplicating an Existing Library

The option to duplicate an existing library is a quick way to save a copy of your In
Model library. You can use this option to create material libraries based on particular
projects or by manufacturer (by downloading materials from the 3D Warehouse into a
new SketchUp model).
There are a number of colors and textures available to download from the 3D
Warehouse. Plus, you’ll find that textures from any of the 3D models downloaded
from the 3D Warehouse will show up in the In Model material library.
1. Start a new SketchUp file.
2. Click the Get Models icon to access the 3D Warehouse and search for the tex-
tures that were uploaded by Oceanside Glass Tile (Figure 7.9).
Figure 7.9 Search the

Google 3D Warehouse
for textures (such as
Oceanside Glass Tile).
3. Download as many of the texture files as you wish directly into your SketchUp
model. You could potentially download their entire catalog.
4. Open the Materials browser and navigate to the In Model library , where
you’ll see all of the materials that were imported along with the files from the
3D Warehouse (Figure 7.10).
Figure 7.10 Navigate

to the In Model mate-
rials library.
5. On a PC: Choose Save Collection As from the Details menu (Figure 7.11).
On a Mac: Choose Duplicate from the List drop-down menu (Figure 7.12).
Figure 7.11 PC: Create a new material library Figure 7.12 Mac: Create a
that contains the In Model materials. new material library that con-
tains the In Model materials.
6. Give the library a name (e.g., Oceanside Glass Tile).

7. Mac only: Navigate to the new library and then right-click the default
(white/blue) material and choose Remove.
CREATING NEW M ATERIALS

The options for creating new materials enable you to specify an exact color value for
your material or import seamless image textures for use as SketchUp materials. This
section explores options for creating new materials—both simple colors as well as
image textures.
Creating a New Color

Creating a new color is one of the more basic options, since it doesn’t involve having to
specify any image texture properties. This option is most commonly used in situations
where you need to create a specific color based on a given set of RGB values—such as
needing to match a Pantone color, the color scheme for a corporate identity, or a paint
sample from Home Depot.
CREATING NEW MATERIALS 163
To start, open a new file and click the Paint Bucket tool to launch the Materials
browser.
On a PC:
1. Click the Create Material icon and give the new color a name. NOTE When
setting a materi-
2. Choose a color from the color wheel or specify an exact color value using the al’s opacity, keep in
RGB, CMYK, HSB, or grayscale color sliders. mind that any material
with opacity equal to
3. Optional: Set the default opacity for the texture.
or less than 70% will
4. Click OK. allow light to pass
through. A material
with opacity greater
On a Mac: than 70% will cast a
shadow.
1. Click the Color Wheel to choose a color or click the Color Sliders tab to specify
an exact color value from the RGB, CMYK, HSB, or grayscale color sliders.
2. Click over to the Color Chooser tab and then drag the color from the Device
RGB pane down into the In Model library.
3. Optional: Right-click the texture and choose Edit.
4. Optional: Set the default opacity for the texture and then close the material.
Bonus Packs
SketchUp’s default material library includes a decent selection of both textures and col-
ors from which to choose. However, you can download a Bonus Material pack from the
SketchUp Web site that includes hundreds of additional materials to choose from: http://
sketchup.google.com/download/bonuspacks6.html.
The trick with the Bonus Material pack is that it was created for SketchUp version 6, so,
by default, the installer file for the Bonus Material pack will add the bonus materials to
your SketchUp 6 Materials folder. If you’ve only ever installed SketchUp 7, the installer
will create a new SketchUp 6 Materials directory in which to place the SKM files. After
installing the bonus pack, you can copy the SKM files to your SketchUp 7 Materials folder
(see earlier in this section for the Materials folder locations).
Sampling Onscreen Colors

Sampling onscreen colors is an efficient way to create new materials that fit in with a
given set of textures.
When I need to replace a streaky projected texture or patch a section of a face with a
texture that isn’t working out (which happens a lot when using the match photo
option), I’ll often sample an onscreen color to use in the model.
In Chapter 6 you saw an option for creating a model of a kitchen based on a hand-
sketched image that was imported and then exploded. The result was a projected
texture that created streaky textures on the sides of the cabinets that were pulled out
from the image.
1. Download the Streaky Sketchy Kitchen model from the 3D Warehouse to your
computer’s hard drive and then open the file in SketchUp (Figure 7.13).
Note: Do not import the Streaky Sketchy Kitchen file directly via the Get Models
command.
2. Click the Paint Bucket tool to open the Materials browser.
3. PC: Create a new color material (it can be any color to start out). Then edit the
material and use the Sample Onscreen Color tool to sample the off-white color
of the cabinets.
Mac: Use the magnifying glass in the Materials browser to sample the off-
white, onscreen color of the cabinets.
Figure 7.13
Download Streaky
Sketchy Kitchen from
the 3D Warehouse
and open the file in
SketchUp.
4. Paint the sides of the cabinets with the sampled color (Figure 7.14).
Figure 7.14
Replace the streaky
textures with the
sampled color.
Creating a New Texture

Chapter 6 illustrated processes for importing images directly onto a surface as a texture
(a process that inherently leads to an immediate use of the texture in the model). This
section explores options for creating a new texture by defining an image for it. Perhaps
you’ll want to use the new texture right away, perhaps not. Either way, it will be saved
in a library, ready to go.
In terms of the differences between the two options—that’s pretty much it. Chapter 6 NOTE One
looked at the option to import images as textures using the Import option; this chapter advantage to
looks at ways to do it via the Materials browser. creating textures via
the Materials browser
For this example you can use just about any image file. Ideally, you’ll want to is that you’re able to
use an image file that will tile seamlessly. For more information about creating specify both the width
seamless tileable images for use as SketchUp textures, check out Episode 41 of The and height of the
SketchUp Show, “Tileable Textures” and Episode 40, “ImageSynth and SketchUp,” at image texture, irre-
spective of the original
www.go-2-school.com/Real-World-Google-SketchUp-7.
image file aspect ratio.
ImageSynth is a Photoshop plug-in for creating seamless, tileable images. You can
download the plug-in and find out more information about it at the imageSynth Web
site, www.luxology.com/imageSynth.
Filter Forge is another Photoshop plug-in useful for creating seamless, tileable images.
In addition to being able to download a free trial version of the plug-in from the Filter
Forge Web site (www.filterforge.com), you can also search for and download thou-
sands of free tileable images created by other Filter Forge users.
The following example illustrates a process of creating SketchUp textures using
images from the Web that are already set up to tile seamlessly.
1. From the Filters section of the Filter Forge Web site (www.filterforge.com/filters),
search for Slate Flooring.
2. Click the Slate Flooring texture by Crapadilla to get to the texture preview page.
3. Right-click the image preview and choose Save Image As from the context menu
(Figure 7.15). Then save the image as Dark Gray Slate.jpg to a folder on your
computer’s hard drive.
Figure 7.15
Filterforge.com is a
great Web site for
downloading seam-
lessly tileable images
for use in SketchUp.
On a PC:
4. Click the Create Material button and give the new texture a name (e.g.,
Horiz_Slate).
5. Toggle on the Use Texture Image option and then click the “Browse for Material
Image File” icon .
6. Navigate to the location where the image file Dark Gray Slate.jpg has been saved,
click the image file, and choose Open.
7. Optional: Set the default opacity for the texture.
8. Click OK.
On a Mac:
4. Choose New Texture from the Color drop-down menu (Figure 7.16).
5. When prompted, choose the image file Dark Gray Slate.jpg.
6. When prompted, give the texture a name (such as Dark Gray Slate) and a default
size (in this case, 4' × 4') and click OK (Figure 7.17).
Figure 7.16 Choose New Figure 7.17 Give the new

Texture from the Color drop- material a name and assign a
down menu. default texture size.
The material is now located in the In Model library, where you can either use the
material in a project, add it to an existing library (e.g., Stone), or create a new material
library for it.
To reiterate, I’ll typically use the preceding process to create materials for a particular
library. When I want to create a material for a project, I’ll use the “Import as texture”
option discussed in Chapter 6.
Ruby Script: Mass Material Importer

The Mass Material Importer Ruby script (massmaterialimporter.rb) is a great tool for
creating new materials en masse. You can download the script from the Materials—
Render section of the Ruby Library Depot (www.crai.archi.fr/RubyLibraryDepot/Ruby/
en_ren_page.htm).
1. Gather up whatever cropped images you want to import into SketchUp and put
them into a folder on your desktop.
2. Name the image files based on what you want the SketchUp material names to be.
When choosing material names for SketchUp, it’s best to use simple text names
with underscores between words, and use lowercase file extensions—for example,
2x2_Bath_Tile_Green.jpg. If you put spaces or symbols (such as apostrophes) in
the filenames or otherwise break from the suggested conventions, you may run
into trouble when exporting your SketchUp model to other modeling/rendering
applications.
3. Choose the Import Materials script from the Plugins menu.
4. When prompted, navigate to the folder on your desktop that contains the texture
images, choose any one of the files from the folder, and then choose Open.
5. Each of the images is automatically imported as a 10" × 10" texture, after which you
can edit each material (see the following section) and resize them according to their
actual, real-world size. It may come in handy to include some kind of a reference to
the real-world texture size/scale in the image texture/material filename so that you
can reference the filename when defining the size.
6. Once you’ve imported a bunch of materials, you can duplicate the In Model library
and save the imported materials for future use.
EDITING SKETCHUP M ATERIALS

SketchUp includes a bunch of options for editing new and existing materials. When
editing existing materials, it’s a good idea to edit materials located in the In Model
library—that way you’ll still have the original version of the material to revert back to
if you change your mind or if things go wayward during the editing process.
On a Mac you can get a material to appear in the In Model library by simply painting
it onto a face in the model using the Paint Bucket tool.
On a PC you have the additional option of dragging any material from a library in the
secondary pane into the In Model library in the primary pane (or vice versa).
EDITING SKETCHUP MATERIALS 169
New materials are automatically added to the In Model library, so before editing those
you might want to either duplicate the material or drag a copy of it into an existing
library so that you have a version of the material to fall back on if you change your
mind about the edits. NOTE If you
To get into Edit Material mode, you can do any of the following: accidentally
click another material
• Double-click a material in the In Model library. while you’re in Edit
Material mode, you will
• Right-click a material in the In Model library and choose Edit from the context
inherit the color/tex-
menu. ture and scale proper-
• PC Option: Select the material and then click the Edit tab. ties. If that happens,
just close the material
• Mac Option: Select the material and then choose Edit from the Color menu. and click Undo.
Editing Colors NOTE You’ll

notice that one
While in Edit Material mode, you can use the color wheel or color sliders to alter the of the benefits of edit-
value of a basic color material. ing the In Model tex-
ture is that you’re able
You can also use the color options to colorize an image texture. For example, if you’re
to see how the edits
using a brick texture in a model and the client asks you to make the bricks a bit more affect the material in
yellow, you can colorize the texture to alter the overall color. The results you’ll get real time, while looking
from this process are akin to adding a color filter to an image in Photoshop. at the material as it’s
applied to faces in the
model.
Editing Texture Images
If I encounter a situation for which the SketchUp material editing options just don’t NOTE If you
cut it, that’s when I choose “Edit texture image in external editor” from the Edit sec- already have an
tion of the Materials browser. This option extracts the image file from the material and image texture applied
to a face in the model,
opens it directly in Photoshop (or whichever image-editing application you chose in
you can right-click the
the Preferences > Applications pane).
texture and choose
Once in Photoshop, you can use the more advanced image editing options available Edit Texture Image
for cropping and touching up your image textures. from the context menu
in order to open the
As soon as you’re done editing the image texture, you can save the changes in texture image in your
Photoshop and close the image file. SketchUp will automatically update the material chosen image-editing
in your model. application.
Swapping Black-and-White Satellite Imagery from

Google Earth with Color Imagery
The process of swapping a colored satellite photo to replace the standard black-and-
white imagery imported from Google Earth is a rather involved process that requires
you to use a number of different material editing options.
You’ll need to have Google Earth (free or Pro) installed in order to follow along with
the beginning part of this example. If you don’t have Google Earth, you can skip to
the second section “Resizing an Image Texture” and copy the sample files from the
included DVD. The sample files are also available for download from the 3D
Warehouse (search for Dodger Stadium Site) and the Real World Google SketchUp 7
Picasa album online at picasaweb.google.com/tadrosio/
Importing Site Imagery from Google Earth

We’ll start this exercise in Google Earth.
1. Launch Google Earth and navigate to a site of your choosing. I’ll use the site for
Dodger stadium in this example. To locate this site in Google Earth, simply type
Dodger Stadium into the search tab and press Enter.
2. In Google Earth, press the keyboard shortcut R to reset the view so that North is
pointing up and the tilt is reset to be looking straight down.
3. From the View menu, turn off the Navigation toolbar and turn off the status bar.
NOTE Keep the 4. Clear the search results pane to remove any place marks that might be obstructing
Terrain layer the view, and turn off any unnecessary Google Earth layers such as the 3D build-
turned on so that ings layer, Geographic Web, etc. that may be cluttering the view of the satellite
SketchUp can import
image (Figure 7.18).
the satellite image
in 3D. 5. Save the Google Earth view as an image file using the option File > Save > Save
Image. With Google Earth Free, the maximum allowable resolution is based on
your screen resolution; in Google Earth Pro, you can save an image up to a maxi-
mum image resolution of 4800 pixels wide.
Figure 7.18 Turn off

unnecessary layers
that might clutter the
view.
© 2009 Google
6. Save the Color version of the Satellite image to your desktop or pictures folder
and give it an easily recognizable name—for example, Dodger Stadium Sat Image.
jpg.
7. Start a new file in SketchUp and import the site location from Google Earth using
the Get Current View tool located in the Google toolbar (View > Toolbars >
Google).
Resizing an Image Texture

When you import a satellite image from Google Earth into SketchUp, the image tex-
ture is given a default size of 1" × 1"—despite the fact that in real life the area repre-
sented by the image is likely much larger.
This same scale mismatch often happens when importing images directly as textures.
In Chapter 6, you looked at options for scaling an image at the moment it is imported,
but if you’re not careful you may end up with textures that have odd default sizes. This
section explores options for editing the default texture size to make it easier to swap
out different images for your textures.
1. Right-click the satellite image that you imported from Google Earth and choose
Unlock from the context menu (Figure 7.19 on the next page).
2. From the View menu, turn on Hidden Geometry.
Figure 7.19 Choose

Unlock from the con-
text menu.
© 2009 Google
3. Take the Tape Measure tool and measure the actual width of the satellite image
that was imported from Google Earth. Make sure you are measuring the flat, 2D
version of the image that is on the Google Earth Snaps layer, not the 3D version
on the Google Earth Terrain layer (Figure 7.20).
4. Highlight the dimension in the Measurements dialog and copy the value using
Ctrl+C (PC) or Cmd+C (Mac).
Figure 7.20 Measure

the width of the
image, and then copy
the dimension from
the Measurements
dialog.
© 2009 Google
5. Open the material library (Windows > Materials) and navigate to the In Model
library.
6. Select the material for the black-and-white satellite image imported from Google
Earth.
PC: After selecting the material, click the Edit tab (Figure 7.21).
Mac: Right-click the material and choose Edit from the context menu
(Figure 7.22).
Figure 7.21 PC: Choose the Figure 7.22 Mac: Right-click

satellite image material and then the satellite image material and
click the Edit tab. choose Edit from the context
menu.
7. Unlock the aspect ratio by clicking the chain-link icon, paste the width dimension
into the space with the horizontal arrows, and then press Enter.
The material will stretch horizontally, which is to be expected, so don’t freak out
Figure 7.23 Paste

the width dimension
of the image into
the corresponding
texture size field and
press Enter.
8. PC: Click back over into the Select tab to save the changes.
Mac: Click the Close button in the material editor to save the changes.
9. Measure the height of the Google Earth image in the model with the Tape
Measure tool.
10. Repeat steps 4–8, but this time, when you get to Step 7, enter the dimension into
the field with the vertical arrows (Figure 7.24).
This time the texture will grow vertically and the surface will look like a big gray
square.
Figure 7.24 Paste

the height dimension
of the image into
the corresponding
texture size field and
press Enter.
Swapping a Texture Image

1. Go into Edit Texture mode for the black-and-white satellite image texture.
2. Reload the color version of the satellite image to replace the black-and-white
image.
PC: Click the Load Texture icon (Figure 7.25).
Mac: Choose Load from the Texture drop-down menu (Figure 7.26).
Figure 7.25 PC: Click the Load Figure 7.26 Mac: Choose Load from
Texture icon. the Texture drop-down menu.
3. Choose the Dodger Stadium Sat Image.jpg file from the location you saved it to.
4. Mac users only: Click Close to save the changes.
Positioning Textures
The image texture has been properly sized, and you’ve swapped out the black-and-
white image for the color version—but as a result of all that, the position of the texture
has been thrown a bit out of whack. This section details the process of getting the
image back in line with the geometry.
1. Right-click the satellite image and choose Edit Group.
2. Right-click the image again and choose Texture > Reset Position.
3. Right-click the image again and choose Texture > Position.
4. Use the Fixed Pin mode to align the texture to the corners of the surface. You can
position the pins in the order of the color wheel—Red, Green, Blue, and then
Yellow (Figure 7.27).
Figure 7.27 Use the

fixed pins in the order
Red, Green, Blue,
Yellow to position the
texture on the face.
© 2009 Google
5. Right-click the image and choose Done to exit the Position Texture mode.
6. Right-click the texture and choose Projected.
7. Take the Select tool (V) and press Esc to close the group containing the 2D
version of the satellite image.
Sampling Image Textures

This section shows how to sample the aligned, projected texture from the 2D version
of the site, and paint it onto the 3D terrain.
1. Take the Paint Bucket tool and press and hold the Alt key (PC) or Option key
(Mac). You’ll see the Paint Bucket tool icon turn into an eyedropper that you can
use to sample the projected texture and load it into the paint bucket.
2. Click the Toggle Terrain tool in the Google Toolbar to toggle from the 2D
version of the terrain to the 3D version (Figure 7.28).
NOTE If the Terrain layer is turned on in Google Earth, there are actually two different objects
imported onto two different layers when you use the Get Current View command to import sat-
ellite imagery from Google Earth into SketchUp: a flat 2D version of the terrain that is located on the
Google Earth Snaps layer, and a 3D version containing the topographic data from Google Earth that is
located on the Google Earth Terrain layer. The Toggle Terrain tool essentially toggles the visibility of one
layer or the other. Theoretically, you could turn on both layers simultaneously via the Layers window.
Figure 7.28 Use the

Toggle Terrain tool to
turn off the layer con-
taining the 2D version
of the terrain and turn
on the layer contain-
ing the 3D version of
the terrain.
3. Right-click the 3D terrain and choose Unlock from the context menu.
4. Right-click again and choose Edit Group.
5. From the Edit menu, turn off Hidden Geometry.
6. Paint the projected texture onto the 3D terrain with the Paint Bucket tool .
7. Close the 3D terrain group (Figure 7.29).
Figure 7.29
The completed 3D
terrain with a colored
satellite image.
© 2009 Google
For more information about some of the Materials browser options discussed in
this chapter, check out Episode 53 of The SketchUp Show, “Import Satellite Imagery
and Terrain from Google Earth in Color!” online at www.go-2-school.com/
Real-World-Google-SketchUp-7.
There’s also a recording available at the same URL of Q&A Webinar that I hosted on
May 5, 2009, during which I discussed, in a fair amount of detail, the various tools
and options for the Mac Materials browser.
In addition to downloading images and materials from the Google 3D Warehouse and
sites like Filter Forge, you might also want to check out the expansive library of mate-
rials available from the Form Fonts Web site (www.formfonts.com).
179
chapter
Eight
Mastering Components
In earlier chapters you learned about SketchUp’s “sticky” behavior—that is,

the tendency in SketchUp for overlapping edges and faces to automatically
join together. You’ve also seen how groups and components effectively
separate geometry in the model and keep objects from sticking together.
Both groups and components share the function of being able to effectively
isolate and protect objects from other geometry in the model—but that’s
about where the similarities end. The benefits of creating a group are effec-
tively limited to:
• Allowing you to quickly separate otherwise loose entities into their own
autonomous objects—for example, separating the edges and faces that
make up the walls of a building from those that make up the roof.
• Allowing you to gather up a bunch of scattered objects so that you can
quickly select them—for example, grouping all of the chairs around a
table (and perhaps even grouping them together with the table) so that
you can quickly select and move the items together as a set.
Components, on the other hand, present a whole other level of functionality,
especially given the functionality introduced in SketchUp version 7 to create
dynamic components.
This chapter explores some of the more advanced functionality for creating
components and looks at some of the most effective ways to use components
to save time and increase productivity in SketchUp.
180 CHAPTER 8: MASTERING COMPONENTS
CREATING BASIC COMPONENTS

To answer the all-too-familiar question, “When should I create a component versus
when I should create a group?” my answer would be that you consider the following
general rules of thumb:
• Any time you draw an object that you plan to create copies of, make it a compo-
nent first. Then place copies (a.k.a. instances) of that component around the
model.
• If you’re ever in doubt about which option to use, just make it a component.
Making something a component gives you more options for what you can do with
it later.
As you’ll see, working in this way lays the groundwork for being able to more effi-
ciently revise your model later on. If the repeated elements in your project are mod-
eled as components, then you’ll only have to revise one of the component instances, as
opposed to having to edit each copy individually.
Once the “must create components” mindset sinks in, you’ll get better about planning
out your SketchUp modeling work as a process of creating and assembling the various
parts and pieces of a project, perhaps even to the extent that your SketchUp models are
built in a way that closely mimics the way that your project would be built and assem-
bled in the real world.
Let’s begin this section by creating a simple bookcase component.
1. Start a new file and draw a box 36" wide by 14" deep and 52" tall. Note the relation
of the box to the axes in Figure 8.1.
2. Triple-click the box with the Select tool (V) to select all of the edges and faces.
3. Right-click the box and choose Make Component from the context menu to
bring up the Component dialog (recommended shortcut: Shift+G; Figure 8.2).
CREATING BASIC COMPONENTS 181
Figure 8.1
Draw a box that mea-
sures 36" wide by 14"
deep by 52" tall.
Figure 8.2
The Create
Component dialog.
Assigning a Name and Description

The name and description information entered into the Create Component dialog are
attributes that will stay with the component. The component name will appear in the
Model Info window, Outliner, Component browser window, and the Dynamic
Component Attributes dialog.
1. Give your bookcase component the name Bookcase and give it a description that
includes any relevant information (such as the dimensions 36" wide by 14" deep by
52" high) that you might want to recall later.
2. Click Create.
NOTE If you 3. Open the Component browser window, navigate to the In Model library, and
create leader click the bookcase component icon. Notice that the name you entered shows up in
text in the model by the Name field of the Component browser window (Figure 8.3a).
clicking a component
using the Text tool , In the Entity Info window you’ll see the component name listed in the Definition
the default text will field (Figure 8.3b).
autofill with the com-
In the Outliner window you’ll see the name appear in brackets (e.g., <Bookcase>)
ponent name.
(Figure 8.3c).
In the Dynamic Component Attributes dialog , the component name is listed
above the attributes list (Figure 8.3d).
Changing the Component Name

If you change the component name in the Entity Info, Outliner, or Component browser
windows, the name change will automatically register in the other windows.
However, since a component name is an integral part of dynamic component formulas
(as you’ll see in later sections of this chapter), once a component has been turned into
a dynamic component, the component name in the DC Attributes dialog becomes a
separate ball of wax. Name changes in the Model Info, Outliner, and Component browser
windows will not be reflected in the DC Attributes dialog, and the same is true vice versa.
Figure 8.3 The component name appears in the

Component browser window (a), Entity Info win-
dow (b), Outliner (c), and Dynamic Component
Attributes dialog (d).
A B
C D
Determining the Component Origin

The insertion point of a component relates to the location and orientation of the com-
ponent axes. Each component has its own axes, which are independent from the
model axes. To get a better sense of this feature you can view all of the component
axes in a model by going to Window > Model Info > Components > Component
Axes > Show Component Axes.
As you may recall from Chapter 4, the origin of the component axes is also the point
at which the Move tool has a hold of the component while it’s being imported into a
project from the Component browser or via the Get Models browser. So the impor-
tant point to consider when creating a component is, “Can the position of the compo-
nent axes make it easier for me to place this component into a project?” The answer to
that question is typically “Yes!”
For example, if you were modeling a structural column that needed to be placed based
on its center point, you would probably be better off locating the component origin at
the center of the base of the column to make it easier to position the column when
placing copies of it around the model.
Another example might be if you were creating a component of a light fixture that was
going to hang from the ceiling; you would probably be better off locating the compo-
nent origin near the top of the fi xture, where it would make it easier to place the com-
ponent while looking up at the ceiling.
With the bookcase that we’re working on, the most intuitive location for the compo-
nent origin would probably be the back-right or back-left corner.
You can set the component axis location while creating the component initially by
choosing Set Component Axis in the Create Component dialog (Figure 8.2). At this
point, however, the component axis for our bookcase has already been set, so instead
we’ll look at the options we have for changing the component axis after it’s already
been set.
1. Right-click the component and choose Edit Component from the context menu.
2. Zoom out so that you can see the component axis extend beyond the bookcase.
3. Right-click the component axes and choose Change Axes (Figure 8.4).
4. Zoom back in, and then place the axes at the back-right corner (Figure 8.5).
5. Close the bookcase component.
Figure 8.4
You can change the
axes location of a
component while
in Edit Component
mode.
Figure 8.5
Set the component
axes for the bookcase
at the back-right
corner.
Setting a Gluing Plane

When creating a component, choosing one of the following gluing plane options will
automatically align the Red/Green plane of the component axes to the type of face that
you select.
• None will keep the component oriented such that the component axes are always
aligned relative to the current position of the project file axes. This option works
well for things such as trees, people etc. that are always supposed to stand tall,
regardless of the orientation of the face on which they're being inserted.
• Any will allow you to place the component onto any kind of face in the existing
project. Once placed in the model, the component will glue to the face on which
it was placed.
• Horizontal will restrict the orientation of a component such that when you go to
place it into your project you will only be able to set the model down on an exist-
ing, horizontal face—or, onto the ground plane in the model.
• Vertical gluing planes restrict the orientation of a component such that when you
go to place it into your project you will only be able to set the model down on an
existing, vertical face in the model.
• Sloped gluing planes restrict the orientation of a component such that when you
go to place it into your project you will only be able to set the model down on an
existing, sloped face in the model. This option is useful for components such as
skylights, solar panels, and other stuff you might expect to put on a rooftop or
other sloped face.
Of the available options, our bookcase would probably be best off with a Horizontal
gluing plane so that it will always align itself to whichever floor surface it’s applied to.
Again, you have an option to set the glue-to option when you’re creating the compo-
nent initially (Figure 8.2), but if you’ve already created your component (as with our
bookcase), you can go back and edit the gluing option later on.
1. Open the Component browser, navigate to the In Model library, and then click
the bookcase component.
2. Click the Edit tab in the Component browser.
3. Choose the option for Horizontal from the “Glue to” drop-down menu
(Figure 8.6).
Figure 8.6
Set a Horizontal
gluing plane for the
bookcase.
Moving a Glued Component

Glued components can only move across the plane of the face that they are glued to.
Additionally, if you move the plane that the component is glued to, the component will
move along with it. To unglue a component which has been glued to a face, you can
right-click the glued component and choose Unglue from the context menu. Keep in
mind however that there is not an option for re-glue. To re-glue a component, your best
bet would be to reinsert it from the component browser.
Creating Nested Groups and Components

The term nested refers to components within other components. When you create
nested components in a model, the main component is referred to as the parent com-
ponent, the subparts and pieces are referred to as nested components. You can have
nested components inside of other nested components and so on, so that you have sev-
eral layers within a parent component. As a reminder, the general rule of thumb is that
any time you’re about to create an object and you think you might eventually make
several copies of that object in your model, make it a component first. That way, if you
ever have to make any changes to the object, you’ll only have to change one of the
copies, and all the other copies will automatically follow suit. These same rules apply
when creating nested components.
For example, our bookcase component would likely be modeled such that the shelves
are all the same size. An option in this case would be to create one shelf component
and then copy it. That way, if you ever need to change the depth or thickness of the
shelves, you would only have to edit one of the shelves.
1. Take the Select tool (V) and double-click the bookcase component to go into
Edit Component mode.
2. Take the Offset tool (O) and offset the edges of the front face of the bookcase
2 inches (Figure 8.7).
Figure 8.7 Offset the

edges of the front
face of the bookcase.
3. Push/Pull (Q) the front face through to the backside of the bookcase to cut a
hole through it.
4. Take the Select tool (V) and triple-click the frame of the bookcase to select all
the faces and edges.
5. Right-click the frame and choose Make Group from the context menu.
(Figure 8.8).
6. Draw a rectangle down near the bottom of the frame, and then pull the
rectangle up to create a 2-inch thick shelf.
Figure 8.8 Turn the

bookcase frame into a
nested group.
7. Take the Select tool (V) and triple-click the shelf. Then right-click the shelf and
choose Make Component. Name the component Shelf, and then click Create
(Figure 8.9).
Figure 8.9 Create a

nested component for
the bookcase shelf.
8. Take the Move tool (M) and press the Option key (Mac) or Ctrl key (PC) and
move a copy of the shelf component up to the top of the frame.
9. Type 4 and press Enter to create five evenly spaced shelves. Then Erase (E) the
first and last shelf (Figure 8.10 on the next page).
10. Take the Select tool (V) and press Esc to close the component.
Figure 8.10 Copy

the shelves, and then
close the bookcase
component.
NOTE With nested components it’s important to get used to making sure you’re in Edit Com-
ponent mode within the correct nested component before trying to make changes to it. Simi-
larly, remember to close the nested components when you’re done editing them. The Outliner
(Window > Outliner) can be a helpful tool for visualizing and keeping track of nested components.
If you wanted to take this bookshelf to the point where all the parts and pieces were
componentized, you could model the left and right sides of the bookshelf as nested
components that were flipped along the red axis so that they mirrored each other—
again creating a scenario whereby modifying one side of the bookcase would automati-
cally result in the opposite side of the bookcase changing in a symmetrical fashion.
CREATING FACE-ME COMPONENTS

As mentioned in Chapter 4, Face-me components are a great low-poly option for
reducing file size and optimizing performance. One of the biggest advantages gained by
using Face-me components stems from the fact that they are typically created as flat,
2D components—thereby requiring far fewer edges and faces to represent an object
than if it were modeled in full 3D. Despite being modeled as flat objects, Face-me com-
ponents get their name from the fact that they are set up to automatically rotate so that
the component is always facing the camera. Face-me components are especially useful
for representing complex organic forms such and plants, animals, and people.
CREATING FACEME COMPONENTS 191
An optional, yet highly effective process for creating 2D Face-me components with
accurate outlines and shadows begins in Photoshop. If you use Adobe Creative Suite
regularly, you should check out The SketchUp Show, Episode 19: “Creating Face-Me
Components,” included on the companion DVD and online at www.go-2-school.
com/Real-World-Google-Google-SketchUp-7. The video illustrates the process of
taking an image from Photoshop to Illustrator to CAD to SketchUp—and might shed
light on some useful workflows for other stuff you’re working on.
For this next example, start by importing the results of the aforementioned process
(a cropped PNG image of a palm tree with a transparent background and a DWG out-
line of the tree). The sample files for this example can be copied from the Chapter 8
Example Files folder on the companion DVD, and the images are also available for
download from the Real World Google SketchUp 7 Sample Files Picasa album at
http://picasaweb.google.com/tadrosio/RealWorldGoogleSketchUp7SampleFiles.
1. Import the file PALM_TREE_OUTLINE.dwg into SketchUp.
Warning: This example assumes you’re using the Real World SketchUp 7 template
(see Chapter 2) or any other template that starts out with an empty drawing (such
as the Beginning Training Template Inches). If you’re using a template where new
files open with a dude standing in the middle of the screen, delete the dude first
before executing this next step.
2. Fill in the face by tracing an edge with the Pencil tool (L) (Figure 8.11).
Note: If you were working on a tree with an outline that had a ton of little leaves
or whatever, you could use the Make Faces Ruby script instead (see Chapter 3).
Figure 8.11 Trace an

edge of the outline to
heal the face.
3. Right-click the face and choose Reverse Faces from the context menu. Remember
that it’s always better to apply textures to the white side of a face to avoid issues
with the textures being misread when exported to other modeling and rendering
applications.
4. Scale the tree to a real-world height (such as 40 feet) using the Tape Measure tool
(D) .
5. Import the image file PALM_TREE.png. Apply the PNG directly onto the face
as an image texture and position it so that it fits within the outline (Figure 8.12).
If needed, refer to Chapter 6, “Importing Images” for more information about
this step.
Figure 8.12 Position

the palm tree texture
so that it fits within
the outline.
6. Rotate the entire tree using the Rotate tool (R) so it’s standing upright.
Tip: Click and drag along the bottom of the tree to set the rotation axis first
(Figure 8.13) then click a second time to start rotating the tree up, then click a
third time to rotate the tree 90 degrees.
7. Double-click the face with the Select tool (V) to select the face and all of the
edges. Then press and hold the Shift key while single-clicking the face again to
deselect the face.
8. Choose Edit > Hide to hide the edges of the outline around the tree.
9. Double-click the face of the tree again to select the face and all the hidden edges.
CREATING FACEME COMPONENTS 193
Figure 8.13 Rotate

the tree so that it is
standing upright.
10. Right-click the face and choose Make Component.

11. Give the component a name (e.g., 40' Palm Tree) and description (e.g., Coolest 2D
Face-me tree ever).
12. Choose Set Component Axes and locate the component axes at the bottom of the
tree near the middle of the trunk (Figure 8.14).
Figure 8.14 Set the

tree component axes
near the middle of the
base to set the point
about which the com-
ponent will swivel as
it rotates to face the
camera.
13. Choose the gluing option for None, check the boxes for Always Face Camera,
Shadows Face Sun, and Replace Selection with Component (Figure 8.15). Then
click Create.
Figure 8.15
Create the palm tree
Face-me component.
Now the tree is all set up to face the camera from any angle.
Note: If for some reason you didn’t want your tree component to face the camera any-
more, you could disable the Always Face Camera feature via the Component browser
dialog.
Go to the In Model library of the Component browser and select the tree component.
Then choose the Edit tab and uncheck the Always Face Camera option.
As a reference, you can download my version of this palm tree component from the
Google 3D Warehouse (search for “40 foot palm tree author:blue marble project”) and
use it to troubleshoot any issues you may have run into while following along with
this section.
CREATING DYNAMIC COMPONENTS

SketchUp’s dynamic components feature allows you to attach information to any com-
ponent in the form of data attributes. You could use dynamic components to simply
assign basic data attributes, such as an item’s real-world SKU number, product name,
size, or description. Dynamic component features also allow you to create custom
CREATING DYNAMIC COMPONENTS 195
dialog boxes for your components that you can use to easily edit attributes, such as the
component size or material, by choosing from options or entering values into the dia-
Component Attributes
log. These features can save a ton of time editing complex components that typically Component Options
contain many nested groups and components such as doors, windows, and cabinets. Interact Tool
In this section, I’ll break down the basics of dynamic components and show you
some of the ways you can take advantage of this powerful feature set. First, you’ll need
to bring up the Dynamic Component toolbar under View > Toolbars > Dynamic
Figure 8.16
Components. Figure 8.16 highlights each of the tools in the toolbar, two of which
The Dynamic
(Options and Attributes) can also be accessed via the right-click context menu > Component toolbar.
Dynamic Components.
Creating a Dynamic Door Component

In this example, we’ll take a look at creating one of my favorite dynamic components:
a modern-style door that I created to use in my architectural and interior design proj-
ects. I love these kinds of doors and found that I was using some variation of this one NOTE Axis
in a number of projects—so for me it made sense to turn it into a dynamic component positioning will
in order to save time when I need to revise the door style for a project. The compo- be very important
nent we’re going to create can be configured in thousands of different ways with just a throughout this
couple of quick clicks. example!
1. Draw a 2-foot cube. Start drawing from the origin of the model out toward the
solid Red and Green axes directions (Figure 8.17).
Figure 8.17 Draw a

2" by 2" by 2" cube.
2. Make the cube a component. Call it Door and make sure the option “Replace
selection with component” is checked before clicking the Create button
(Figure 8.18).
Figure 8.18 Turn the

cube into a compo-
nent named Door.
3. Click the Component Attributes icon to open the Dynamic Component

Attributes dialog (Figure 8.19).
Figure 8.19 The

Dynamic Component
Attributes dialog.
NOTE In the
top-right corner
you’ll see the Toggle
Formula View button.
You may find it easier
to work with that but-
ton turned on as we go
through rest of the
section on creating
dynamic components.
Add Position, Size, and Rotation Attributes

In general, the Dynamic Component Attributes dialog contains two kinds of attributes:
• Relative Attributes: The default values are displayed as gray text and can be con-
sidered relative. These values are simply reporting the current status of the compo-
nent in the model. Relative values are automatically updated in real time when the
component is edited.
• Absolute Attributes: You can define an absolute, fi xed value (one that will not
change) for an attribute by putting an equals sign (=) in front of a number or for-
mula. Absolute values are displayed as black text. In addition to simple numeric
attributes, absolute values may also include functions and formulas, as you’ll see in
later sections of this example.
When adding the attributes, consider the following important information regarding
the relative position of the component axes and model axes:
• Position values for a nested component are relative to the position of the parent
component axes. If a component is the parent component, the position values are
relative to the model axes.
• Size and Rotation values are always relative to the selected component axes—not
the parent or model axes.
1. Add the Position attributes and define absolute values for the door by
entering =0 in the PosX, PosY, and PosZ attribute cells (Figure 8.20).
Some procedural notes about entering values:
• Edit a value cell by double-clicking it.
• After you enter a value, press Enter to solidify the changes.
• If you click another value while in Edit mode, the name of the other
attribute value will be entered into the active cell. This can be both
helpful and annoying at times, so just be aware of when and where
you’re clicking stuff while editing attributes. Figure 8.20 Position, Size, and
Rotation attributes for the door
• To unlock a value, you can delete the cell’s contents (including the
component.
equals sign) and press Enter—at which point the values go back to
being relative.
2. Add the Size attributes and lock in the following Size values to change the dimen-
sions of the box (Figure 8.20):
LenX (Door Width) =36
LenY (Door Thickness) =1.5
LenZ (Door Height) =84
3. Add the Rotation attributes and enter the values RotX =0, RotY =0, RotZ =0.
Now try to move, rotate, or scale the box. You’ll see that it keeps going back to the
0, 0, 0 model origin—and keeps the same position and size you have set in the
Attributes dialog no matter what you do to it.
For an object such as this door, you would most likely keep the Position and
Rotation attributes unlocked so that you’d be able to move the door around in the
model and place it within any doorway.
4. Go back and delete the contents of the Rotation attribute cells to set those back to
their relative (grayed out) values.
Add Interaction Attributes

Interactive onClick attributes allow users to click dynamic components with the Interact
tool to initiate a change in state among any values that have been input for the onClick
attribute. Examples of basic onClick actions include moving or rotating an object with
the Interact tool (as you’ll see in this example) or changing the material or size of an
object. OnClick attributes could even impact multiple attributes simultaneously.
1. Create a custom attribute named SLIDE and enter the value =0.
2. Add the onClick attribute and enter the formula ANIMATE(SLIDE,0,36).
3. Enter the PosX value =0+SLIDE.
4. Click the door with the Interact tool . The Interact tool will cause the onClick
formula to cycle through the SLIDE values 0 and 36, which will animate the
change in PosX value of the door.
You can change the door to function as a swinging door by altering a couple of
attributes.
5. Change the PosX attribute back to =0.
6. Add a custom attribute for SWING and enter a value =0.
7. Edit the onClick formula by replacing =ANIMATE(SLIDE,0,36) with
=ANIMATE(SWING,0,90). Remember to press Enter to solidify the changes.
8. Delete the SLIDE attribute by clicking the minus symbol that appears next to the
attribute name when it’s highlighted. When SketchUp asks if you’re sure, click Yes.
9. Change the RotZ attribute to =SWING.
10. Click the door with the Interact tool to see it swing open, and then click it again
to see it swing shut.
Comma-delimited strings, such as the animate function above, can contain multiple
states. For example, you could add a third rotation value to the onClick formula so
that it reads, =ANIMATE(SWING,0,90,180). Then click the door with the Interact tool to
see it animate through all three stages.
You can right-click the door and choose the context-menu option Flip Along to flip-
flop the door along the Red or Green axis to get the door swing to go in whichever
direction you prefer.
Add User-Defined Attributes

The Component Options dialog essentially functions as a graphic user interface (GUI)
for viewing and modifying dynamic component attributes. In other words, the
Options dialog provides a more user-friendly way to edit your components. However,
you first have to enable the component attributes (such as size, rotation, etc.) that you
want to be able to edit via the Options dialog so SketchUp knows which of those attri-
butes to display.
1. Go back to the LenX size attribute and click the Details tab .
2. In the Details pane, set the Units option to Default: Inches and select the Display
rule “Users can select from a list” (Figure 8.21).
Figure 8.21 User-defined

LenX attribute details for the
door component.
3. Enter a Display Label as you would like it to appear in the Options dialog—for
example, Door Width.
4. Add list options for the door width.
The List Option will be the visible name in the list and should be typed out as you
want it to appear—for example, 2'-4", or 3'-0". You can add as many of these
options as you think are appropriate.
The List Value is the number that affects the values and formulas in the
Component Attribute fields and should be typed out numerically—for example, a
2'-6" list option would translate into a list value of 30.
5. Click Apply to exit the Attribute Details dialog.
6. Open the Component Options dialog , choose a door width from the available
options, and then click Apply to see those changes reflected in the model
(Figure 8.22).
Another type of user-defined attribute you can create allows users to enter a value
for the attribute via a text box in the Options dialog. This option is especially use-
ful for the kind of components that can be sized to just about any dimension.
Rather than having to create some big long list of values for users to choose from,
you can just leave it up to the user to decide which value to enter into the text box.
7. For the LenZ size attribute, click the Details tab .
8. In the Details pane, set the Units option to Default: Inches and select the Display
rule “Users can edit as a text box.”
9. Enter a Display Label as you would like it to appear in the Options dialog, such as
Door Height, choose Inches from the Display In option, and then click Apply
(Figure 8.23).
Figure 8.22 To change the width of Figure 8.23 User-defined LenZ attri-
the door, choose a new door width bute details for the door component.
from the Options dialog and click
Apply.
10. Set up two more custom, user-defined attributes that you’ll need for the next part
of this example:
• Name: FrameThickness; Value: =6. Edit details > Units: Default: Text; Display
rule: “User can edit as a text box”; Display label: Frame Thickness; Display
In: Inches.
• Name: KickHeight; Value: =10. Edit details > Units: Default: Text; Display
rule: “User can edit as a text box”; Display label: Door Kick Height; Display
In: Inches.
Creating Nested Dynamic Components

Dynamic component attributes can trickle downstream from a parent component to a
nested component. For example, the width value of a nested component can reference
the width of its parent component, but the same is not true vice versa. For starters,
we’ll explore some of the nuances of nested dynamic components by giving our cur-
rent door a bit more flexibility.
If you remember a few steps back, I had you reset the value for the RotZ attribute back
to being a relative value, thus making it such that you could rotate the door around in
the model to align to any opening. Well, now the RotZ attribute is determined by an
onClick attribute, which limits the door to being able to rotate only to a few select
degree angles.
Ideally, we’d still be able to rotate the door anywhere, and then click it with the Interact
tool to watch it swing open and shut relative to whatever position and angle it’s in.
In order for that to work, you need to effectively create a door within a door and set it
up such that the parent door can be free to go anywhere in the model while the nested
door rotates in relation to the position and angle of its parent component.
1. In the drawing window, double-click the door with the Select tool to edit the
door component.
2. Triple-click the door to select all of the edges and faces.
3. Right-click the door and choose Make Component. In the Make Component dia-
log, give it the name DoorSwing and choose Create.
4. The Component Attributes dialog will automatically show the options for the
nested component DoorSwing. Once you close the DoorSwing component, you’ll
be able to see it along with the parent door component in the Attributes dialog.
I prefer working in this way so that I can get a better sense for how the nested
components relate to the parent.
NOTE The syn- 5. At this point, go ahead and fill out the attribute values for the DoorSwing compo-
tax for referenc- nent as shown in Figure 8.24. You’ll notice that many of the attribute values refer-
ing another attribute is ence those created for the parent component—for example, the LenX value for the
to include the name of
DoorSwing component, =Door!LenX.
the component you are
referencing followed by 6. Remove the onClick and SWING attributes from the parent door component (by
an exclamation mark, clicking the Delete button that appears next to the attribute name when the attri-
followed by the name bute is highlighted), and then add those attributes to the nested DoorSwing com-
of the attribute you are
ponent instead (Figure 8.24).
referencing. The quick-
est way to reference an
Figure 8.24 The attributes for
attribute is to click it
the DoorSwing component are
while the other attri-
set up to reference the values for
bute cell is still active.
the door component attributes.
Now the door can be positioned/rotated anywhere in the model and still swing
open and shut using the Interact tool. Before you test all that, however, let’s keep
going with the rest of this section, which illustrates the process of turning our
basic slab door into one that’s got a bit more style.
7. Double-click the Door Swing component with the Select tool to go into Edit
Component mode. Then triple-click the door again to select all of the edges and
faces.
8. Right-click the door and choose Make Component. This time give it the name
Left and choose Create.
NOTE Keep in
mind that now 9. Close the DoorSwing component so that you can see the attributes for both the
the Position and Size Left component and the DoorSwing component.
attributes for any
nested components 10. Enter the following values for the Position and Size attributes for the Left compo-
will be relative to the nent (see Figure 8.25):
parent component Position Attributes: PosX: =0; PosY: =0; PosZ: =0
axes. In this case, the
parent component is Size Attributes: LenX: =DoorSwing!FrameThickness; LenY: =DoorSwing!LenY;
DoorSwing. LenZ: =DoorSwing!LenZ
Figure 8.25
Left component
attributes.
11. Edit the DoorSwing component and draw a new box. The box can be any size for
now, as we’ll set the dimensions using attributes in just a minute.
12. Select the box and make it a component named Right.
13. Close the DoorSwing component and enter the following values for the Position
and Size attributes of the Right part of the door (Figure 8.26):
Position Attributes: PosX: =0; PosY: =DoorSwing!LenX-
DoorSwing!FrameThickness; PosZ: =0
Size Attributes: LenX: =DoorSwing!FrameThickness; LenY: =DoorSwing!LenY;

LenZ: =DoorSwing!LenZ
Figure 8.26
Attributes of the
component Right.
14. Edit the DoorSwing component and make a new box component called Top.
and Size attributes of the Top part of the door (Figure 8.27 on the next page).
Position Attributes: PosX: =DoorSwing!FrameThickness; PosY: =0; PosZ:
=DoorSwing!LenZ-DoorSwing!FrameThickness
Size Attributes: LenX: =DoorSwing!LenX-(DoorSwing!FrameThickness*2); LenY:

=DoorSwing!LenY; LenZ: =DoorSwing!FrameThickness
Figure 8.27
Attributes of the
component Top.
16. Edit the DoorSwing component and make a new box component called Bottom.
and Size attributes of the Bottom part of the door (see Figure 8.28):
Position Attributes: PosX: =DoorSwing!FrameThickness; PosY: =0; PosZ: =0
=DoorSwing!LenY; LenZ: =DoorSwing!KickHeight
Figure 8.28
Bottom compo-
nent attributes.
18. Edit the DoorSwing component and make a new box component called Center.
and Size attributes of the Center part of the door (see Figure 8.29):
Position Attributes: PosX: =DoorSwing!FrameThickness; PosY: =0.5; PosZ:
=DoorSwing!KickHeight

=0.5; LenZ: =DoorSwing!LenZ-DoorSwing!FrameThickness-DoorSwing!KickHeight
Figure 8.29
Center compo-
nent attributes.
20. Edit the DoorSwing component and make a new box component called Mullion.
and Size attributes of the Mullion part of the door (see Figure 8.30):
Position Attributes: PosX: =DoorSwing!FrameThickness; PosY: =0; PosZ:
=DoorSwing!KickHeight

=DoorSwing!LenY; LenZ: =2
Figure 8.30
Mullion compo-
nent attributes.
Add Hidden Attribute

If for some reason at this point you wanted to hide the entire door component…no
problem; you could easily right-click it and choose Hide from the context menu.
However, if you wanted to hide one of the nested components, that process is a bit more
involved, requiring you to either go into Edit Component mode or use the Outliner to
get to the right part and then hide it. The Hidden attribute is useful for nested compo-
nents such as the door mullions in our current example because it allows you to control
the visibility of an object via the Component Options dialog. This feature is especially
useful for modeling real-world products with optional accessories that
you may or may not want to include within your design.
1. Create a custom attribute for the parent door component named
Mullions.
2. Edit the Mullions attribute details (Figure 8.31) as follows, and
then click Apply:
Display rule: “Users can select from a list.”
Display Label: Door Mullions (Optional)
List options (as name: value pairs):
• Yes: 0
Figure 8.31 Hidden attribute details
• No: 1 for the Mullions component.
3. Add the Hidden attribute to the mullions component. Enter the value
=Door!Mullions.
SketchUp will interpret the Hidden attribute as true or false, determined by numeric
values, with 1 being true and 0 being false. If the user chooses the parent door compo-
nent option for no mullions, the value would equal 1, which means the Hidden attri-
bute for the Mullions component would also equal 1, which in turn means that
SketchUp will interpret the Hidden attribute as true. Therefore, choosing No
Mullions means the mullions will be hidden.
Add Copies Attribute

The Copies attribute can be used to parametrically control the number of copies of a
given parent component and/or nested components. You can use this feature to create
evenly spaced copies of the mullions component based on whatever dimensions you
input for the door height.
1. Add a custom attribute to the door component named MullionCopies. Enter the
initial value =3.
2. Edit the MullionCopies attribute details as follows:
Definition: “Users can edit as text box.”
Value: Whole Numbers
3. Add a custom attribute to the DoorSwing component and enter the value
=Door!MullionSpacing
4. Add a Copies attribute to the mullion component and enter the value
=DoorSwing!MullionSpacing-1 (Figure 8.32).
Figure 8.32
The Copies attribute for
the Mullion component.
The total number of mullions will equal the number of mullion “copies” plus the
original mullion. In this formula, we’re subtracting one copy from the total so that
the total number of mullions matches whatever number is input in the Options
dialog.
5. Enter the PosZ value for the mullion component:
=DoorSwing!KickHeight+(((DoorSwing!LenZ-DoorSwing!FrameThickness-
DoorSwing!KickHeight)/(Copies+2))*(Copy+1)) (Figure 8.32).
For the formula in Step 4, the term Copies refers to the value of the Copies attribute
that was added in Step 3. The term Copy refers to the specific copy number of the cop-
ied mullions. For example, the first copied mullion knows that it is Copy number 1,
so, for that particular copy, the value 1 is substituted in the formula above. For Copy
number 2, the formula would yield a different result, since the value for Copy would
equal 2, and so on.
You can now open the Component Options dialog and determine the number of mul-
lions you want to include for your door (Figure 8.33), or you can decide not to have
any mullions at all and use the Hidden attribute option to turn off the mullions
entirely. Notice too, that if you change the height of the door, the mullions will auto-
matically adjust so that they remain evenly spaced. The same goes for the options to
edit the thickness of the door frame and the kick height.
Figure 8.33 Use the

Mullion attributes to
determine how many
you want and to turn
them on and off.
Add Material Attributes

When a material is dynamically attributed to a component, the textures are applied to
the component wrapper at the parent level.
Materials are applied dynamically in essentially the same way as if you applied the
material with the Paint Bucket tool. One of the limitations of this is that it’s difficult
to predict the direction that the materials will run. When applied dynamically, materi-
als will only show up on the default blue/beige surfaces within the component. If
you’ve preapplied materials to any faced or nested components within the parent com-
ponent, the Dynamic Material attribute will not affect those materials. This distinc-
tion can come in handy if there are surfaces that you don’t want to change when the
dynamic materials are applied.
To get a feel for what that all means, we’ll actually start out by painting all the faces of
the door frame with a wood texture.
1. Go into Edit Component mode and select all of the faces of the Left side of
the door.
2. Take the Paint Bucket tool, choose a material from the Wood texture library (for
example, Wood_Bamboo_Dark), and paint the faces of the Left side of the door.
3. Repeat Steps 1 and 2 for all other parts of the door except the Center part
(Figure 8.34).
Figure 8.34 Paint the

actual faces within
the nested compo-
nents of the door
frame.
Next we’ll set up a dynamic attribute that will allow us to choose a material for the
Center part of the door via a drop-down menu option in the DC Configurator. But
first we need to create the materials that we’ll make available as choices for this door.
1. Select Window > Materials to open the Material browser.
2. Create a new material named Translucent_Glass_Gray. Give it a color value of
R=221, G=224, B=228, and an Opacity value of 70 (Figure 8.35).
Figure 8.35 Create a new material called Translucent_Glass_Gray.
3. Create another new material named Clear_Glass. Give it a color value of R=221,
G=224, B=228, and an Opacity value of 5.
4. In the Component Attributes dialog , add a Material attribute to the door

component.
5. Edit the Material attribute details as follows (Figure 8.36 on the next page), and
then click Apply:
Display rule: “Users can select from a list.”
Display label: Material
List Options (as name: value pairs):
• Wood: Wood_Bamboo_Dark
• Frosted Glass: Translucent_Glass_Gray
• Clear Glass: Clear_Glass
Note that the Material attribute refers to the actual material name of the textures
in the In Model material library. If you decide to use materials other than those
described here, make sure that the exact names for the materials you use are
entered in the list options.
Figure 8.36 Details of

the attribute Material.
6. Go to the Component Options dialog , choose a new material from the drop-
down list, and click Apply to change the material for the center panel of the door.
NOTE The material inherits its scale from the properties in the Material library and will stretch
based on the size of the component. In some cases, you may want to consider doing a little
pre-planning so that the textures don’t get too stretched out in the model. For example, if your
component is going to range from 4 feet wide to 8 feet wide, set the texture width for a middle value
of 6 feet. That way the texture will only vary a maximum of 2 feet in either scale direction.
A common issue encountered with Dynamic Material attributes is the fact that the
materials have to exist in the In Model material library in order for them to be applied
dynamically. The danger with that is that if you purge the model of unused materials,
you’ll end up losing any materials other than the one currently applied to the compo-
nent. Here is one method you can employ to keep that from happening:
1. Create tiny (1/16" by 1/16") rectangular swatches for each of the materials listed in
the Dynamic Material attribute list.
2. Group each of the swatches separately.
3. Place the swatches within the parent component, near the parent component axes.
4. Hide the swatches.
Add Scale Attributes

You can end up with some funky results if you try to scale a component that has its
size attributes on lockdown. If you don’t want people to mess up your dynamic com-
ponent by trying to scale it, you can actually disable (turn off) the scale grips.
Add a ScaleTool attribute and then click the Details tab. You’ll then be able to choose
from a list of available scale handles for scaling along the various axes, planes, and cor-
ners and decide which, if any, you’d like to remain turned on. You’ll also see a clever
diagram that illustrates which scale grips will be available when scaling your compo-
nent (Figure 8.37). In this case, since we’ve set up our door such that the dimensions
are controlled via the Component Options dialog, it’s probably best to just go ahead
and disable all of the scale handles.
Figure 8.37 The ScaleTool

attributes dialog. Scale
options can be turned
on/off using the check
boxes on the right.
Disabled options will dis-
appear from the diagram
on the left.
The dynamic Picket Fence component (search the 3D Warehouse for “Fence
is:dynamic author:google”) showcases a cool use of the Scale tool. The Size attributes
for the parent component are left as relative values so that you can control the overall
dimensions of the fence using the Scale tool.
If you look at the Position attributes and Copy attributes for the nested picket compo-
nents, they still reference the relative values of the parent component size attributes.
The LenX and LenY size attributes for the nested picket components are fi xed, which
is why the pickets won’t distort their shape when the entire fence is scaled.
The dynamic Framing components (search the 3D Warehouse for “Framing
is:dynamic author:google”) are also good examples of ways in which the Scale tool can
be used. For example, the framing wall component is set up so that when you scale the
wall lengthwise, the 2 × 4s will remain the correct size, and copies of the 2 × 4s will
be added or removed to compensate for the overall change in the size of the wall.
Add Component Info Attributes

The Component Info attributes are useful for identification, marketing, and reporting
purposes, as the information input in these cells will be displayed in the Dynamic
Component > Choose Options dialog (a.k.a. the DC Configurator).
It’s also worth noting that the description field recognizes HTML tags for formatting
stuff such as paragraph breaks ( ), bold type (bold type here), italics
(italic text here), and URL links (<a href=URL>Linked Text</a>) for
linking back to a Web site or other online resource that contains more information
about the model (Figure 8.38).
Figure 8.38 Component Info

attributes for the parent door
component.
The ItemCode attribute cell is a space you can use to input the product SKU code or
order number code.
Take a minute now to type in some information about the dynamic door component
we’ve been working on, and then see how that information is displayed in the DC
Configurator.
The Component Info attributes can be especially useful for generating dynamic com-
ponent reports from SketchUp, as you’ll see in the next section.
After it’s all said and done, Figure 8.39 shows what your door might look like, along-
side its customized Component Options dialog.
Figure 8.39 The

completed dynamic
door component and
Options dialog.
As a reference, you can download my version of this dynamic door component NOTE In order
from the Google 3D Warehouse (search for “Modern Door Dynamic Component for a dynamic
author:blue marble project”) and use it to troubleshoot any issues you may have run component to retain its
attributes, it has to be
into while following along with this section.
imported directly into
a project. If you down-
load it to your hard
Generating Reports drive and then open it,
The Pro version of SketchUp 7 includes an export option located under File > Generate the Dynamic Compo-
Report. The Reporting tool allows you to export the data attributes for a preselected set nent features will not
work.
of dynamic components, or for all of the dynamic components in the entire project. The
reports are exported in either XLS or CSV format, and, once exported, the files can be
opened in Microsoft Excel, Mac Numbers, or Google Spreadsheets, and then formatted
for whatever purposes the information may be relevant.
While this isn’t exactly the most direct way to get project schedules, cut lists, or a bill
of materials (BOM) together for a SketchUp project, it’s certainly in the ballpark.
I suggest playing around a bit with this export feature as it may well influence the way
that you end up formatting your dynamic component attributes.
One of the best ways to learn how to create your own dynamic components is to
import existing dynamic components from the 3D Warehouse, and then deconstruct
them. You can use the information in this chapter to help guide you through the pro-
cess of learning to read how other components have been created—and then move on
to trying to write your own.
At Blue Marble Project (www.bluemarbleproject.com) we’ve created thousands of
dynamic components for building product manufacturers and retailers. You can check
out some of the stuff we’ve done by searching the warehouse for our Blue Marble
Project Products collection. Google has also uploaded a wide variety of Dynamic
Component models to the 3D Warehouse. A search for “is:dynamic author:google”
will retrieve dozens of cool and functional models.
A DVANCED COMPONENT USES

The following are some of the most important and useful context-menu options to try
to keep in mind when working with components.
Select Instances
Select Instances is an option that appears when you right-click a component from the
In Model component library (assuming that a selectable instance of the component
exists and is visible in the model). It’s excellent for quickly selecting all of the instances
of the component that appear in the model.
Keep in mind, however, that only visible components will be selected. Instances of the
component that are hidden, or instances on invisible layers, will not be selected.
Make Unique
Generally speaking, any time you edit a component, the changes are reflected in all
other instances of that component.
However, the Make Unique option (located in the context menu when you right-click
a component in the drawing window) allows you to turn any component instance into
a unique component that can be edited separately.
You can also use Make Unique to create a unique subset of components. Say, for
example, you had a bunch of instances of the same chair component set up around a
ADVANCED COMPONENT USES 215
table, and all of the chairs had armrests (Figure 8.40). You could select all of the
chairs from which you wanted to delete the armrests, and then right-click and choose
Make Unique (Figure 8.41). You could then edit any one of the unique components
and delete the armrests (Figure 8.42 on the next page). The original chair compo-
nents would retain their armrests (Figure 8.43 on the next page).
Figure 8.40 A table

with instances of a
chair component
around it.
Thos. Moser, American Bungalow Collection
(thosmoser.com)
Figure 8.41 Use

the Make Unique
context-menu option
to create a subset
of components that
relate to each other
but are different from
the original.
(thosmoser.com)
Figure 8.42 Once the

subset of chairs has
been made unique,
you can edit any one
of the unique compo-
nents and the others
will follow suit.
(thosmoser.com)
Figure 8.43 The

edited dining set now
contains two unique
sets of chairs—one
with, and the other
without, armrests.
(thosmoser.com)
ADVANCED COMPONENT USES 217
Save As and Reload

Save As and Reload are two separate options (both available from the context menu
when you right-click a component in the drawing window or component browser),
but I’ll discuss them together in this section because I think they’re most useful when
used in conjunction with each other.
My favorite use of these features is as a method for enabling a team of modelers to
work on large projects, similar to the way draftspersons may use X-Refs in AutoCAD
to manage large drawing sets.
Save As: Saves a component out from your model as its own file, after which you can
open it and work on it separately. For example, if you were working on a massive site
model for a master planning project and you needed some help meeting a project
deadline, you could turn sections of the model into components and then save those
sections out as individual files. Another member of the team could then open that sec-
tion of the project and work on it simultaneously as colleagues continued work on
other sections of the model.
Reload: Related to the preceding Save As option, the Reload option allows you to
reload an edited component with the updated version of itself. To ensure a seamless
reload process, it’s important to preserve the location of the Saved As models relative
to their respective model origin/axes, as that is equivalent to the component origin/
insertion point back in the main file.
The Reload option also allows you to reload a component with any other SketchUp
file from your hard drive. For example, say you had a bunch of oak trees in a project,
but you later determined that the climate zone was more suitable for palm trees. You
could right-click any single oak tree in order to reload all of the oak trees in your
entire project with a SketchUp model of a palm tree.
CAD Workflow Tip

Most 2D CAD programs have a component-like equivalent (like blocks in AutoCAD).
Those drawing elements are typically interpreted as components when they’re
imported into SketchUp. As such, Reload can be an effective option for replacing the 2D
components with 3D counterparts.
One tricky part about the process is that the position of the reloaded 3D component
will depend on the position and orientation of the original 2D component axes. If you’re
simply replacing a one-off block for something like a refrigerator or sink, this process is
probably more time consuming than simply inserting a 3D component for that object.
However, in situations where you’ve got a bunch of copies of a block in your drawings—
such as a bunch of doors, trees, cars, or whatever—the Reload option is a one-shot deal
that can save a ton of time, especially if you take the time to get the axis of the 2D com-
ponent in the right spot before you reload the 2D components with 3D versions.
Upload Component
The Upload Component feature (located in the context menu when you right-click a
component in the drawing window) allows you to upload a component object directly
to the 3D Warehouse, assuming that you are logged in to the 3D Warehouse with your
Google ID. This option works with basic as well as dynamic components.
219
chapter
Nine
Mastering Scenes
Scenes allow you to capture the current state of a model by saving the proper-
ties that determine the view of the model and the way it’s rendered. This
chapter explores the fundamental concepts for creating basic scenes as well as
advanced uses of scenes within the context of professional workflows.
Creating a scene can be thought of as simply taking a picture of your
SketchUp model that you can keep coming back to again and again. Scenes
can also be used as the building blocks for creating different kinds of ani-
mated presentations, and they can be used to help manage large files.
The functions for adding, deleting, arranging, and otherwise managing scenes
are contained in the Scenes dialog, which can be found under Window >
Scenes (Figure 9.1).
Remove Page(s) Update Page(s)
Add Page Details toggle
Move Page Up/Down
Scene list
Include in Animation
check box
Scene name
Scene description
Properties
check box list
Figure 9.1 The Scenes dialog.

220 CHAPTER 9: MASTERING SCENES
CREATING A SCENE
1. Copy the sample file Mastering_Scenes.skp from the Chapter 9 folder on the com-
panion DVD or download the sample file Chapter 9: Mastering Scenes from the
3D Warehouse. Then open the file in SketchUp.
2. Use the Navigation tools to create a view similar to that shown in Figure 9.2 and
then click the Add button in the Scenes dialog to add the first scene.
Figure 9.2 Establish

a view of the back
porch and then add a
new scene.
NOTE Since
we’re on the
subject of scenes, if
you download a file
from the 3D Ware-
house that contains
scenes you want to
view, save the file to
your hard drive and
then open it in
SketchUp. If you
When creating a scene, you have the option to give the scene a name and descrip-
import the file directly
tion. By default, scenes are given the generic name Scene #, where the # is equal
into a model, it’ll come
in as components and to the total number of scenes in the model. In this case, the first scene is called
you won’t be able to Scene 1. To change the name, you can highlight the text in the Name field and
see the scenes. enter a new name.
3. Type in the name Back Porch and press Enter.
You also have the option to save any or all of the following model properties. By
default, all of the settings are initially checked on, which is fine for this first scene of the
Back Porch. Here’s a quick rundown of the general purpose for each of the settings:
• Camera Location: Saving a scene in SketchUp preserves the camera position,
direction, zoom, and field of view so that you can quickly and easily get back to
that one perfect view of your project or have a consistent way to render/print the
same view of a project over time as the design changes.
CREATING A SCENE 221
You can use multiple scenes to record different camera positions. If you have at
least two scenes with different camera positions, SketchUp will automatically
animate the change in view from one camera to the next as you toggle back and
forth between the two scenes. This functionality is the foundation for being able
to create fly-through animations.
• Hidden Geometry: Scenes are capable of remembering which, if any, entities, NOTE I mention
groups, or components are hidden at the time the scene is saved. hidden geome-
try here in the list
Once a scene (or scenes) has been established, any new geometry created in the because it’s an option.
model will automatically appear in all of the existing scenes. While hiding stuff in
your model can some-
• Visible Layers: Scenes will remember which layers you have turned on or off at
times be a nice feature,
the time the scene is saved. For example, if you had a simple model of a house,
when it comes to
with the roof on a layer, you could turn off the roof layer and create a scene that scenes it’s probably
remembers to hide the roof anytime you want to see through to the interior of the more efficient and less
building. confusing to control
the visibility of objects
When you add a new layer to a model with existing scenes, the new layer, by
in the model using lay-
default, will be visible in any of the existing scenes. ers instead of the Hide
function.
NOTE The Ruby script Add Hidden Layer (add_hidden_layer.rb) is available for download from
the Ruby Library Depot (www.crai.archi.fr/rubylibrarydepot/ruby/en_sel_page.htm). Once
installed, the command is available from the Plugins menu and can be used to create a new layer that
will be turned off in all of the existing scenes in your model. Then you just have to go and update the
scenes in which you actually want the layer to be visible.
• Active Section Planes: Scenes will remember the active section plane and sec-
tion plane visibility settings. Saving section cut scenes in your model can be an
effective method for creating perspective section views of building interiors, com-
municating building details, and exporting section drawings to CAD.
You can save multiple scenes with different section settings. If you have at least
two scenes with different section settings, SketchUp will animate the difference
between the sections. This feature is commonly used to create the illusion of hav-
ing your model, or a part of your model, build into a scene.
The section plane settings are located in the Edit > Modeling Settings pane of the
Styles palette. If you alter a scene by changing the section plane settings, you will
likely also need to update the current style or create a new style in order to effec-
tively save the section settings in your scene. We’ll take a look at some of the sec-
tion plane options later in this chapter.
• Style and Fog: Scenes can remember the current settings chosen in the Styles
dialog, such as face styles, edge effects, watermarks, section settings, etc.
Remember that styles have to be updated when a change is made in order to save
the changes. As you’ll see later in this chapter, scenes with particular style settings
can help you work more efficiently with large files. Having scenes saved with dif-
ferent style settings can also be a fun way to illustrate a model with different ren-
dering qualities.
In Chapter 1, I pointed out a preference in the General tab, “Warn of style change
when creating scenes.” If that preference is turned on, when you create a new scene
(or update an existing one), SketchUp will alert you if there are style changes that
haven’t been updated or saved. A dialog will ask whether you want to:
• Save the changes as a new style (which is usually the safest option because
SketchUp will save the current style settings as a new style without disrupting
any of the style settings that may have been saved in other scenes).
• Update the current style (which may affect other scenes in which the current
style was applied).
• Do nothing to save the changes (in which case SketchUp will revert to the
style settings that were current when the original scene was saved).
• Shadow Settings: Scenes will record the shadow settings (including time, date,
brightness, darkness, etc.).
You can save multiple scenes with different shadow settings. If you have at least
two scenes with different shadow settings, SketchUp will animate the difference
between the shadows. You can use this feature to create specific scenes for sun/
shade analysis and watch as the sun tracks across the site.
• Axes Location: Scenes will remember the position and orientation of the global
model axes. Component axes are a different story though; scenes won’t remember
their positions. You can use the Axes setting to quickly toggle back and forth
between different axes orientations. Since SketchUp’s drawing tools work more
effectively when you’re able to work parallel to the model axes, it can be especially
useful to create scenes with different axes locations when you find yourself work-
ing on projects that have buildings or structures in your model at various angles
relative to each other.
SET TING UP A CAMERA FLYTHROUGH 223
SETTING UP A CAMER A FLY-THROUGH

This section covers the most popular use of scenes: creating an animated fly-through
of a model.
As mentioned, the basic premise for creating a camera animation in SketchUp is that
you have at least two scenes with different camera views. SketchUp will interpolate
(automatically animate) the change in view from one camera to the next as you toggle
between the two scenes. For example:
1. Change the view in the model by orbiting around and zooming in so that you’ve
got a better shot of the front door (Figure 9.3).
Figure 9.3 Establish

an aerial view of the
front door and then
add another new
scene.
2. You’ve already seen the option for creating a scene using the Add Scene button in
the Scene window. You can also add a new scene by right-clicking the Back Porch
scene tab at the top of the screen and choosing Add. A new scene tab will be cre-
ated and is automatically given the name Scene 2 (Figure 9.3).
3. To change the name of the scene, right-click the Scene 2 tab and choose Rename.
4. Then type in the name Front Door and press Enter.
Now you can click either of the scene tabs to toggle the camera view back and forth
between the two scenes.
Notice as you toggle between the two scenes that the camera view doesn’t just switch
immediately from one scene to the next but instead animates smoothly from one
scene to the other. The animated camera motion can be exported from SketchUp as a
video file.
Positioning a Standard Camera

When you’re setting up scenes with different camera views, you can determine your
camera position based simply on how you want your model to be framed in camera, or
you can set up the camera to represent and communicate a specific vantage point that
someone might experience if they were actually there.
1. Select the Position Camera tool . Before you click to position a camera, the
Measurements box displays the relative Eye Height at which the camera will be posi-
tioned above the face that you click. By default, the Eye Height value is set to 5' 3".
Go ahead and type in a value that represents your own eye height (or the eye
height of the client you’re designing for) and then press Enter.
2. Click the driveway out in front of the front door.
SketchUp will locate a camera so that it is hovering directly above the point where
you clicked, and the camera will be looking out toward the horizon (Figure 9.4).
As soon as you click to locate the camera on the driveway, SketchUp will automati-
cally activate the Look Around tool and you’ll notice that the cursor turns into
a freaky set of eyeballs that are looking back at you.
3. Click and drag with the Look Around tool to change the direction of the camera.
The Look Around tool is unlike the Orbit tool in that the relative eye height of
the camera will stay put, as though the camera were on a tripod and you were just
swiveling it around to frame the shot, or as if you were actually standing there,
standing in the same place, just “looking around” in the model.
Since the camera has already been positioned, the Measurements dialog is now
displaying the absolute Eye Height of the camera, relative to the model’s imagi-
nary ground plane. Since the driveway in this model is coincident with the mod-
el’s ground plane, the Eye Height value still registers as 5' 3". Had you clicked the
roof or something, the absolute eye height would be much taller.
You can use the Eye Height setting to evaluate multiple view heights for a particu-
lar camera location before saving the scene. For example:
4. Set an Eye Height for the camera that represents the average height of someone in
a wheelchair: Type in 3'10" and press Enter. Then re-enter the value for the initial
view height (i.e., 5'3").
Figure 9.4 Click the

driveway with the
Position Camera tool
to get a view of the
front door from eye
level.
5. The default field of view for your camera is set to 35 degrees. The larger the
field-of-view angle, the more you can see. You have two options for changing
the field-of-view angle using the Zoom tool (Z) .
• Press and hold the Shift key while using the Zoom tool. Zoom In + Shift to
decrease the field-of-view angle; Zoom Out + Shift to increase the field-of-
view angle. The field-of-view angle will appear in the Measurements box. Try
checking out the way your model looks at either extreme. Try out a degree
angle of 15 degrees, and then go all the way up to 70 degrees.
• Enter a specific field-of-view angle (such as 45 deg) in the Measurements box

and press Enter. You can change your mind about the field-of-view angle as
many times as you want.
6. Select the Walk tool (W) to accurately edit the camera position. Click and drag
up to move the camera forward, down to move backward, left to move left, or
right to move right.
Again, the difference between using the Walk tool rather than the Zoom, Pan, or
Orbit tools is that the Walk tool will keep the Eye Height value consistent with
whichever value you entered. You can even use the Walk tool to walk up and
down a ramp, a sloped terrain, or a staircase. And the Walk tool is smart enough
to stop before you run into or back into a wall, which can be useful when you’re
trying to work in tight spaces and might otherwise accidentally zoom out of a
room and then have to try and re-establish the view again from scratch.
7. Once you’ve settled on a view for the entry (see Figure 9.4), add a third scene
named Entry.
Positioning a Target Camera

In addition to being able to use the Position Camera tool to set up a camera by clicking
a face in the model, you can also set up target cameras (cameras that are looking from
one specific point to another). For example:
1. Orbit around to the back of the model so that you can see both the figure (Sang)
standing on the back patio as well as the back doors (Figure 9.5).
Figure 9.5 Establish a

view from which you
can clearly see Sang
and the back doors.
2. Click and drag with the Position Camera tool from Sang’s eyes over to the back
doors and then let go (Figure 9.6).
Figure 9.6 You can

click and drag with
the Position Camera
tool from a point of
view to a target in
order to visualize that
exact line of sight.
3. Add a fourth scene named Back Door.

Playing an Animation
Once you’ve got a bunch of scenes set up in your model, you can play the animation
directly within SketchUp.
On a Mac: You can customize the top toolbar to include Play/Pause animation con-
trols. You also have a “Play animation” option in the context menu that shows up
when you right-click a scene tab. When you choose “Play animation,” the animation
will start; if you choose it again, the animation will pause.
On a PC: The Play/Pause controls will automatically pop up when you choose “Play
animation” from the scene context menu. You can then use the controls to pause and
restart the animation.
The settings that determine the speed for the animation are located under Model
Info > Animation. The Scene Transitions setting determines the amount of time it
takes to transition from one scene to the next. The Scene Delay determines the
amount of time that SketchUp will pause on a scene before transitioning to the next
one. For camera fly-throughs, I typically have the Scene Transitions set to 3 to 4 sec-
onds, and the Scene Delay set to 0 seconds.
Exporting Animations
The animated transitions between the camera position from one scene to another can
be exported from SketchUp as a movie file (on Windows you can export AVI files and on
a Mac you can export MOV files).
To export an animation from SketchUp, you must have at least two scenes in your
model. Once they are set up, you can choose File > Export > Animation.
Prior to saving your movie file, you can choose from a number of export options to
customize the output from SketchUp. The export options differ slightly depending on
whether you’re working on a Mac or Windows, but both platforms include options for
specifying the resolution, aspect ratio, frame rate, video encoders, and rendering quality
for your movie files.
I’ve included two videos on this book’s companion DVD to help you learn more about
the different animation export options for either OS. The videos are excerpted chapters
from the School Series: SketchUp Level 2 DVD, which is available online at www.go-2-
school.com/products/view/6.
CREATING SHADOW ANIMATIONS 229
Reordering Scenes
We currently have four scenes in our model. The most recent scene we created, Back
Door, is the last scene. After watching the animation, it looks like it might make more
sense to reorder the scenes so that the animation starts out with the Back Door scene.
You’ve got two options for reordering the scenes:
• Select the Back Door scene in the Scene window and then click the Page Up but-
ton until it’s the first scene in the list.
• Right-click the Back Door scene tab and choose Move left. Repeat as needed until
Back Door is the first scene.
CREATING SHADOW A NIMATIONS

One of the coolest ways to take advantage of SketchUp’s animation function is to cre-
ate shadow animations. In this model, the trellis is located on the south end of the
house to provide shade in the summer months. Let’s take a look at how to use scenes
to create an animation of the shadows as they track across the porch from morning to
afternoon, and incorporate that into our existing camera sequence.
1. Click the Back Porch scene tab to restore the view that you’ve already saved.
2. Open the Shadow Settings dialog (Window > Shadows). Check the Display
Shadows button to turn on the shadows (Figure 9.7).
Toggle Shadows Figure 9.7 The

On/Off Shadows dialog (with
Time of Day slider settings described in
Date slider Steps 2–5).
Shadow Display
options
3. Set the time of day and day/month of year to an early morning time for a day in
the summer—for example, 8:00 A.M. on 8/30.
4. Set the lightness and darkness of the shadows to whatever you think looks good (I
prefer a lightness value of around 80 and a darkness value of around 40).
5. Uncheck the Shadow Display option for On Ground.
6. Right-click the Back Porch scene tab and choose Update so that the new shadows
will be included as part of that scene.
7. Now that the first part of the shadow animation is set, change the time to 4:00
P.M. and then add a new scene called Back Porch PM.
Notice that since the original Back Porch scene was the current scene, the new
scene is automatically inserted into the sequence, following its predecessor.
8. If you’re as particular as I am about this sort of stuff, you can rename the other
Back Porch scene and call it Back Porch AM for consistency.
Now (assuming your graphics card can handle it) when you toggle back and forth
between the AM and PM scenes, you’ll be able to see the shadows track across the
back porch. If your graphics card disables the shadows during playback on your com-
puter screen, don’t worry; the shadows will still appear rendered when you export the
model as a movie file.
Shadow Accuracy
To get an accurate read on how shadows would look on-site for a project, you just need
to give SketchUp a couple of pieces of information via the Model Info > Location win-
dow (see “Location” in Chapter 2).
Location: You can specify a location either by city, state, country, or by choosing Set cus-
tom location to enter exact Latitude/Longitude coordinates.
North Angle: By default, SketchUp thinks that the solid green axis is pointing north, but
you can use the North Angle option in the Location dialog to enter a value, or click the
Select button to set the north angle in any direction.
Also, keep in mind that SketchUp doesn’t take daylight savings time into account. When
you’re looking at shadows anytime between the second Sunday in March to the first
Sunday in November, you’ll want to add an hour to whatever time SketchUp shows in
the Shadows window.
Updating Shadows
Since the shadows are now saved for just two of our scenes, we need to update the
other scenes in the model so they display shadows as well.
In the last section we used the Update option in the scene tab context menu to update the
entire Back Porch scene. Updating a scene using the context menu option will
CREATING SHADOW ANIMATIONS 231
automatically update all of the properties that you’ve specified for that scene to remem- NOTE
ber—including the shadow settings, if applicable. In this section we’ll take a closer Selecting/
look at the update function in the Scene window—which, by contrast, allows you to highlighting a scene
and activating a scene
specify which of the properties you’d like to update.
are two very different
With the Back Porch scene as the active scene, you can still select and update the Back things. To select a
Door (or any other) scene to inherit settings (such as the shadows) from the active scene. scene in the Scenes
window, just single-
1. Click the Back Porch AM scene to make it the active scene. click it. You can make it
the active scene by
2. Highlight the Back Door scene in the Scene window and then click the Update double-clicking it.
button (Figure 9.8).
Figure 9.8 With the

Back Porch scene
as the active scene,
select the Back Door
scene and click the
Update button.
3. Uncheck all of the options except for the Shadow Settings and then click
Update (Figure 9.9).
Now the Back Door and Back Porch AM scenes share the same shadow
settings.
4. Click the Back Porch PM scene to make it the current scene.
5. Highlight both the Front Door and Entry scenes in the Scene window and
then click the Update button. Figure 9.9 Uncheck all
6. Update just the shadow settings for both scenes at the same time. of the properties in the
update panel except for
Now all three scenes (Back Porch PM, Front Door, and Entry) share the same shadows.
shadow settings.
Shadows Only
In addition to playing a role in your animations, scenes with certain shadow settings can come in handy for other
uses. For example, you might find it useful to create a set of scenes that display shadows throughout various times
of day during the summer and winter solstice for more in-depth shade and day lighting analysis.
1. Click the Entry scene tab to make it the current scene.
2. Add a new scene named Summer 8AM.
3. Set the time of day to 8:00 A.M. and set the date to 6/21 (summer solstice).
4. Uncheck the “Include in animation” option in the Scenes window.
5. Uncheck all of the properties in the Scenes window except for Shadow Settings (Figure 9.10).
6. Click the Update button and update all of the settings for the Summer 8AM scene (Figure 9.11).
7. Change the time of day to 12:00 P.M., and then right-click the Summer 8am scene tab and choose Add.
Rename the newest scene Summer 12n and uncheck the “Include in animation” option in the Scenes window.
8. Create another scene with the time of day set to 4:00 P.M., call it Summer 4pm, and uncheck the option
“Include in animation.”
9. Repeat Steps 2–8 to create three more Winter scenes for 8:00 A.M., 12:00 P.M.,
and 4:00 P.M. on the winter solstice, 12/21.
Since these scenes are set up to remember only the shadow settings, you can click
them anytime to see what the shadows would look like on those dates/times—
without having to worry about any of your other settings changing.
Figure 9.11 Update

the scene so that it will
Figure 9.10 Create a scene that is set to remember only the shadow settings remember the settings
and uncheck the option “Include in animation.” you’ve altered.
USING SCENES TO IMPROVE PERFORMANCE WITH LARGE FILES 233
USING SCENES TO IMPROVE

PERFORMANCE WITH L ARGE FILES
Capturing camera positions and animations is probably the most widely used function
of scenes, but there are also some pretty cool uses for scenes in which the camera proper-
ties are potentially ignored—such as the summer/winter shadow scenes we set up in
the previous section, which were set up to remember only the shadow settings.
Layers, styles, and shadows are three of the most critical aspects of your model that
you can manage to help increase performance while working on large models.
Having a ton of visible geometry in the model, plus having profile edges and textures
turned on, plus having shadows turned on, may all be too much for the ol’ GPU to
handle. Even though SketchUp version 7.1 drastically improves the performance for
higher polygon count models, there are also some useful methods for creating scenes
to help manage large files.
Next, we’ll set up a scene we can use to turn off all the stuff that might impact
SketchUp’s performance.
1. Click the Back Porch PM scene tab to make it the current scene.
NOTE Be careful when creating a new scene if you have utility scenes set up in the model such
as the summer/winter scenes in this example. When you add a new scene, it inherits the “Prop-
erties to Save” settings from the current/active scene. If one of the shadow scenes were the active
scene, this new scene would start out with just the shadow settings checked. This behavior gets a lot
of people mixed up in a bad way, so as you’re learning to work with scenes, it can be less confusing to
start by making the active scene one that has all of the settings checked on, and then go from there.
2. From the Scenes window, click Add and create a new scene named Working and
uncheck the option “Include in animation.”
Also uncheck the properties for Camera Location, Active Section Planes, and
Axes Location.
3. Turn off the shadows for this scene.
4. Open the Layers window and turn off the layers that contain all of the more
detailed (and higher polygon count) components in the model (Figure 9.12 on
the next page).
5. Open the Styles window and click the Edit tab.
Figure 9.12
Configure the visible
layers as shown.
6. In the Edge Styles dialog, uncheck all of the edge rendering options (Figure 9.13).
7. In the Face Styles dialog, choose the display option for Hidden Line mode and set
the Transparency quality to Faster (Figure 9.14).
Figure 9.13 Turn off

all of the edge style
effects for maximum
performance.
Figure 9.14 Render the faces in Hidden Line mode and set the transparency quality
option to Faster for maximum performance.
SET TING UP ANIMATED SECTION CUTS 235
8. Update all of the properties of the Working scene. When SketchUp

asks what you want to do about the unsaved style changes, choose
the option, “Save the changes as a new style” and click Update
(Figure 9.15).
9. Move the Working scene up on the list (or over to the left of the other
scene tabs) so that it’s the first one in the list.
NOTE When it comes to arranging the order of utility scenes, I like to keep the
ones I use a lot (like the Working scene) at the left of the scene tabs so they’re Figure 9.15 Update the Working
easy to find when I need them. When you have a model with tons of scenes, those that scene and create a new style when
are placed at the bottom of the list end up in a drop-down menu at the far right of the prompted.
scene tabs and are then kind of a pain to access—which is why I put them at the top of
the list (far left) instead.
The Working scene is now set up so that no matter what you’re doing, and no matter
what other scene you may be in, you can click it to get back to the settings that are
optimized for performance, enabling you to make quick revisions to the model with-
out having to wait for the model view to refresh.
For more information about styles, check out the video The SketchUp Show, Episode
37: “SketchUp Got Styles,” included on this book’s companion DVD and online at
SETTING UP A NIMATED SECTION CUTS

As mentioned earlier, creating scenes with section planes can be a useful way to illus-
trate and present certain aspects of a project, such as a perspective interior view or a
construction detail. In this section we’ll explore options for creating scenes with sec-
tion cut information, and we’ll also look at ways to create compelling presentations
using animated section cuts.
First we’ll explore some of the basics for adding section cuts to a model. Sections can
cut through an entire model or they can cut through a group or component.
1. Select the Section tool . Note that when you move the Section tool cursor
around in the model, it automatically orients itself to whichever face you’re hover-
ing over.
2. Create a cross section of the model by clicking the east end of the house with the
Section tool (Figure 9.16 on the next page).
3. Click the section plane with the Select tool to make sure it’s selected.
Figure 9.16 Insert a

section plane by click-
ing the face of the
east end of the house.
4. Use the Move tool to move the section plane into the middle of the house
(Figure 9.17).
One important rule to keep in mind when working with section planes is that you
can only have one active section plane within any given context. You can, how-
ever, have more than one section plane active at the same time, as long as they’re
in a different context. By context, I’m referring to either the entire model or the
context of being within a group or component.
Figure 9.17 Section

planes are objects
that can be moved
and rotated around in
the model.
5. Create another cross section by clicking the north face of the garage with the
Section tool (Figure 9.18). By default, the new section plane automatically
becomes the active section.
6. Select the new section plane with the Select tool, and then move it to a spot where
it’s just shy of cutting through the car (Figure 9.18).
Figure 9.18 Add

another section plane
that cuts through the
garage.
NOTE You can

use the Select
7. Take the Select tool and double-click the first section plane to make it the active tool to double-click a
section. If you want, go ahead and toggle between the section planes using the section plane to make
same double-click option. it the active section.
Updating Section Plane Settings

We’re about to look at some options for creating animated section planes using scenes,
but first we’ve got a bit of housekeeping to do. Now that we’ve added our section planes
to the model, you’ll notice as you flip through the existing scenes that the section plane
objects are visible in all of the other scenes. In some cases, the slightly transparent sec-
tion plane objects are dulling the view of our other scenes (such as the Entry scene),
which is less than ideal.
The process of turning off the section planes is a bit tricky, so we better get through
that part now, before things get even trickier by adding more scenes for the section
animation.
1. Click the Front Door scene. The active section plane will deactivate, but both of
the section plane objects will remain visible in the model.
NOTE When 2. Click the Toggle Section Display tool to turn off the section plane objects.
updating groups
• On a PC, this option is located in the Section toolbar (View > Toolbars >
of scenes, it’s best to
update scenes with Section).
similar “Properties to • On a Mac, you can add this tool to the customizable top toolbar.
Save” settings; other-
wise you could muck • On both platforms, you can also access this Display option in the Styles window
up those settings dur- under Edit > Modeling Settings > Section Planes.
ing the update process.
3. In the Scenes window, select only those scenes that are set up to be included in
The “utility” scenes
we’ve created for dif- the animation (Figure 9.19).
ferent shadow settings 4. Choose to update only the settings for Active Section Planes and Style and Fog,
as well as the Working
and click Update (Figure 9.20).
scene should be
updated separately.
Figure 9.19 Select the Figure 9.20 Update the

scenes that are included in Section and Style settings
the animation. only.
5. When prompted, choose the option “Save as new style” and click Update.
NOTE Section settings are saved and updated in the Styles window under the Model Settings
tab, so when you save a scene with a new active section cut, SketchUp will ask what you want
to do about the style changes. Again, I typically choose the option to “Save as new style” in order to
ensure that any existing scenes/styles are not disturbed.
6. Now click the Summer 8am scene tab to make it the current scene. Then repeat
Steps 2–5 above. This time, before you update the scene, you can also select all of
the other shadow utility scenes and then update the Section and Style settings for
those scenes together as a group.
7. The Working scene is the last one that needs to be updated, so click the tab for
that scene, and then turn off the section plane visibility. As a shortcut, you can just
right-click the scene tab and choose Update from the context menu.
Creating an Animation with One Section Plane

You can create a simple section animation with a single section plane. In order to do
this, you need to create a scene in which the section plane is active, and another scene
in which the section plane is inactive. When you toggle back and forth between the
two scenes, the section cut will start at the extents of the model (or group/component)
that it is cutting through and then make its way to where you have positioned it in the
model. Keep in mind that the section doesn’t actually move; the animation effect is
created as SketchUp interpolates the change in state between the plane being active
and inactive.
1. Swing back around to the Front Door scene by clicking that scene tab.
2. Toggle on the section plane visibility by clicking the Toggle Section Display
tool (Figure 9.21).
Figure 9.21 Toggle

on the section planes
so that you can see
which one you want
to activate.
3. Take the Select tool and double-click the section plane to activate the cross section
through the bedroom (Figure 9.22).
Figure 9.22 Double-

click the bedroom
section to activate the
section plane.
4. Toggle off the section plane visibility.

5. Right-click the Front Door scene tab and choose Add from the context menu.
6. When prompted, choose the option to “Save as new style” and click Update.
7. Right-click the new Scene 13 tab and choose Rename. Give it the name Bedroom
Section and then hit Enter.
Now you can toggle between the Front Door scene (in which the section planes are set
as inactive) and the Bedroom Section scene (in which the section plane is active) and
watch the section cut animate into the scene to show a view into the bedroom.
This effect is one that I often use to make it look as though parts of the model are
peeling away. To practice with this effect, try creating a scene in which the roof
appears to cut away/build up.
Hint: To pull off this effect, you’ll have to add the section plane within the roof group,
then move the section plane over far enough so that the roof is no longer visible, and
then create a scene.
Creating an Animation with Two Section Planes

Similar to the previous section, you can use the second section plane (the one that’s
cutting through the garage) to create the effect of animating from one active section
plane to another.
1. Click the Bedroom Section scene tab to make it the active section.
2. Toggle on the section plane visibility.
3. Take the Select tool and double-click the section plane to activate the cross section
through the garage (Figure 9.23).
Figure 9.23 Activate

the garage section
plane.
4. Toggle off the section plane visibility.

5. Right-click the Bedroom Section scene tab and choose Add from the context
menu.
6. When prompted, choose the option to “Save as new style” and click Update.
7. Right-click the new Scene 14 tab and choose Rename. Give it the name Garage
Section and then hit Enter.
Now you can toggle between the Bedroom Section scene and the Garage Section
scene to watch as the section cut appears to rotate from one scene to the other.
For an added effect, you could change the view in the model to look into the garage at
eye level and then update the Garage Section scene so that the camera moves down to
that view as the section cut is animating.
For more information about the Section tool and creating section animations, check
out the video The SketchUp Show, Episode 31: “The Section Tool,” online at
243
chapter
ten
Exporting Graphics from
SketchUp
For some projects it may be necessary to print views of your model; at other
times you may simply need to send digital images of the model (as JPEGs or
PDFs). This chapter focuses on the all-important topic of documenting the
work you’ve done in SketchUp in a presentable or shareable format (i.e., digi-
tal or paper-based documents). There are numerous ways to create and export
graphics from SketchUp—perhaps more than this entire book could illustrate.
With that said, this chapter includes information about the options that almost
everyone encounters at some point: preparing your model for presentations,
creating scaled graphics, printing from SketchUp, exporting raster graphics,
exporting vector graphics, and exporting CAD files.
244 CHAPTER 10: EXPORTING GRAPHICS FROM SKETCHUP
PREPARING YOUR MODEL FOR

PRESENTATIONS
This section explores the options for adding dimensions, onscreen text, and water-
mark overlays (for logos and title blocks). Adding this kind of information to your
model can be a vital aspect of communicating your ideas clearly and giving your pre-
sentations that extra layer of professionalism.
Dimensioning Your Model in SketchUp

To add a dimension string to your model, use either of the following methods:
• From Endpoints: Click from one endpoint to another endpoint and then pull out
a dimension that measures the distance between the two points. This option is
especially useful for measuring between points associated with different edges or
points that lie in different planes (Figure 10.1).
Figure 10.1 Click

from one endpoint
inference to another
endpoint inference to
add a dimension.
NOTE While
pulling out a
dimension string, you
can pull the dimension • From Edge: Click an edge (look for an On Edge inference) and pull out a dimen-
out laterally, vertically,
sion string that measures the entire length of the edge you clicked (Figure 10.2).
or in a direction per-
pendicular to the vec- Note: If the edge you are trying to add dimensions to is contained within a group
tor between the or component, you will have to be in Edit Group/Component mode to get the
endpoints. appropriate On Edge inference.
PREPARING YOUR MODEL FOR PRESENTATIONS 245
Figure 10.2 Click

from an On Edge
inference to add a
dimension string.
Once positioned, you can adjust the placement of the dimension at any time, using the
Move tool. If the default dimension string text is left alone, it will automatically update
when the objects that the dimension are attached to are edited. You can edit the default
dimension string text by double-clicking the text with the Select tool. Once overwrit-
ten, the text will not automatically update if the model is edited.
Chapter 2 briefly discussed the dimension settings and display options available from
the Dimensions tab in the Model Info window. The display options are pretty
straightforward, so I’ll leave those to you.
One of the settings I want to point out, however, is the advanced/expert dimension
preference Hide When Foreshortened, which is useful for parsing the dimension
strings that are specific to a particular view. For example, if you’ve created a set of
NOTE You may
dimensions in the model for a plan view, and another set for an elevation view, the recall the Add
foreshortened option will automatically cause SketchUp to display only the set of Hidden Layer Ruby
dimensions relevant for the particular view. script mentioned in
Chapter 8. Adding lay-
In situations where the foreshortened options aren’t quite getting it done, you can
ers for dimensions usu-
always put dimension sets on specific layers and then hide/show the layers for scenes in ally happens late in the
which they shouldn’t/should appear. For example, you may have an elevation view with game, and the layers
overall dimensions and a close-up view of the same elevation with dimensions for a par- are typically used in
ticular detail. In situations such as this, the foreshortened option isn’t going to help sep- only one or two scenes,
arate the different dimension sets. You’re better off putting the set of dimensions that which is a perfect situ-
ation in which you
were created for the overall elevation view on one layer (e.g., S_Elev_Dims) and putting
could save time by
the set of dimensions for the detail view on another layer (e.g., S_Elev_Detail_Dims). using that script.
Once the dimensions are on different layers, you can update the scenes for each view to
include the corresponding set of dimensions.
Annotating Your Model

When it comes to annotating your SketchUp model, you can use the Text tool to add
notes in the form of leader text or onscreen text.
The type of text object you end up creating depends entirely on how you use the Text
tool.
NOTE When • Create a leader text note by clicking the Text tool on any point, edge, or face in the
you click a face model. Leader text notes will stay attached to the objects to which they were
with the Text tool, the applied. Keep in mind that leader text notes are positioned in 3D space, and the
default value for a
text automatically turns to face the camera.
leader text object is
equal to the surface • Add onscreen text notes by clicking in white space, away from the SketchUp model.
area of the face that Onscreen text notes are static text objects that stay put, even when you orbit
you click. If the face around and change the view of your SketchUp model.
that you click is con-
tained within a group You can use the Move tool to reposition leader text as well as onscreen text objects.
or component, the
default text will autofill As mentioned previously with regard to dimension strings, you can create layers to
with the name of the house various text notes that can then be turned on/off for particular scenes.
group or component.
When deciding on a location for a leader or onscreen text note, consider the various
monitor display resolutions that the SketchUp model may be viewed on, and also con-
sider the size of the output of your printouts. If you typically work on a large, high-
resolution monitor, you may want to check out what the model looks like at a lower
resolution to ensure that the text notes are still legible. Problems are more likely to
occur if text is placed while working on a hi-res display and then viewed on a lower-
resolution monitor or projector.
Adding Watermarks
SketchUp includes the ability to apply watermarks to your model—either as back-
ground images or foreground stamps. The Watermark options are located in the
Styles palette under the Edit tab.
Background watermarks are an easy way to create composite renderings of your model
that include background imagery such as a landscape, sky, or cityscape. You can use
the Background image from Chapter 6 to tinker with the background watermark
options.
PREPARING YOUR MODEL FOR PRESENTATIONS 247
Overlay watermarks, on the other hand, are commonly used to display a company logo
or a title block graphic with information about the SketchUp project. For this next
example, you can use the Peachpit logo included on this book’s accompanying DVD.
To add an overlay watermark:
1. Click the Add button in the Styles palette Figure 10.3 Click the
(Figure 10.3). Add button to create
a new watermark.
2. Choose a file to import and use as your watermark.
3. Give the watermark a name (e.g., Peachpit Logo) in
the Choose Watermark dialog, select the Overlay NOTE To edit
radio button, and click Next. the settings for
a watermark you’ve
4. Slide the opacity slider to obtain the desired look for
created, highlight the
your overlay and then click Next. watermark in the list,
5. Choose the radio button “Positioned in the win- and then click the Edit
dow,” pick a location (I typically choose the bottom- button (which looks
like gears).
right corner), move the slider to determine the scale
of the watermark logo, and then click Finish
(Figure 10.4).
Figure 10.4 Position

the watermark in the
bottom-right corner
and shrink it down.
The overlay watermark will now sit in the bottom-right corner of the screen, like a
sticker. Regardless of whether or not you orbit the model, the logo will always stay put
in the bottom-right corner.
Once you’ve set up your watermark, you’ll notice that the preview icon in the Styles
window displays a couple of spinning arrows that indicate new, unsaved changes to
the current In Model style. You now have a couple of choices for saving the new dis-
play settings—depending on how prevalent you want the new watermark to be:
• If you want the new watermark to become part of the default In Model style, sim-
ply click the Preview icon to update the current style (Figure 10.5). This will
effectively include the watermark in any new and existing scenes that include the
default style. To view or print the model without the watermark, you must
remove it from the watermarks list or choose a new, watermark-free style from
the Select tab.
Figure 10.5 Click

the Preview icon to
update the changes
made to the default In
Model style.
• To retain the original default, In Model style, click the “Create a new style” icon
and give the new style a name (e.g., Peachpit Logo). From the Select tab of the
Styles window, you’ll then be able to click the In Model library and choose either
the original default style or the new one with the watermark (Figure 10.6).
Figure 10.6 Click

the Create New
Watermark button to
leave the default style
alone and create a
new style for the new
watermark.
EXPORTING TO SCALE 249
If needed, you can create different styles that contain different watermarks and save
them in different scenes.
The most important aspect of watermarks (at least with regard to the subject of this chap-
ter) is that they will show up in printouts, in exported images, and in Google Layout.
EXPORTING TO SCALE
By default, the SketchUp view port is set to display your model in Perspective view
mode, which provides a more intuitive experience for working on a model in 3D.
With the Perspective display mode turned on, you can print or export any of the
graphic formats discussed in this chapter, but the graphics will not be scalable.
In order to export scaled graphics you need to do two things: First, view the model in
Parallel Projection mode, and, second, choose an orthographic view of the model. For
the first part, you can simply choose the Parallel Projection view mode from the
Camera menu. (Note: To switch back to Perspective view mode, go to the Camera
menu and toggle back over to Perspective.)
For the second part, assuming that your model has been drawn such that it aligns to
the SketchUp axes, you can choose from any of the Standard views (Top, Left, Right,
etc.) that are accessible via the Camera menu and/or Standard views toolbars in order
to find the desired orthographic view of the model.
If your model has been drawn such that it’s off-kilter to the SketchUp axes, you can
align the camera to any face in the model by right-clicking the face and choosing
Align View from the context menu.
NOTE The Align View option will only appear in the context menu if you are right-clicking a
face. If you right-click a group or component, you will get options related to groups and com-
ponents. To align to the face of a group or component, you need to be in Edit Group/Component
mode in order to right-click and see the options for the actual face inside the group/component.
PRINTING YOUR SKETCHUP MODEL

Printing views of your model directly from SketchUp is the de facto option for those
times when you just need to get a view of your 3D model onto a piece of paper. While
on one hand the convenience of printing directly from SketchUp is a plus, the down-
side is that the options in SketchUp for creating dimensioned, annotated working
drawings, complete with title blocks, etc. are limited and cumbersome.
NOTE Save a In the free version of Google SketchUp, you are limited to the print options found in
scene of the SketchUp. With Google SketchUp Pro, you have the added option to export your
view that you are print- model to, and print from, Google Layout.
ing before you print—
that way you can come This section explores options for setting up scenes in SketchUp for print, and also
back to the scene later covers the print settings in SketchUp.
to print the exact same
view again.
Print Settings
On the Windows version of SketchUp you’ll find that the print options are broken up
into two separate dialogs: The Print Setup dialog (File > Print Setup) and the Print
dialog (File > Print).
On the Mac OS the print options are broken up into three separate dialogs: the Page
Setup dialog (File > Page Setup), the Document Setup dialog (File > Document
Setup), and the Print dialog (File > Print).
These menus are fairly straightforward and reminiscent of the print options you have
in most programs. That being said, there are a few SketchUp print settings worth par-
ticular attention:
• The Page Orientation option (located in the Print Setup dialog in Windows or in
the Page Setup dialog on a Mac) is where you choose portrait or landscape orien-
tation for the page size you’ve selected. I typically work on low-rise projects and
find myself using the landscape orientation so that I can fit more of the model on
a sheet of paper. Landscape orientation also more closely resembles the aspect ratio
of your monitor, so it’s easier to approximate what the final output will look like
before printing.
• In the Windows version, there is an option in the Print dialog that allows you to
print multiple scenes from the model in one shot.
• The print size of the model is determined in the Print dialog in Windows and in
the Document Setup dialog on a Mac. If “Fit to page” is unchecked, and if the
SketchUp model view is set up with an orthographic view and Parallel Projection
mode is turned on, you’ll have the option to determine a print scale. Enter the
print scale dimensions as they would appear in an architectural scale notation. For
example, a 1/2" = 1'–0" scale drawing would translate into a half inch in the draw-
ing equaling 1 foot in the model.
• The print quality is determined in the Print dialog on both platforms. The larger
the paper size and the higher the print quality, the longer it will take to print. At a
minimum, I recommend choosing high-quality printing. Draft quality is a decent
EXPORTING 2D GRAPHICS 251
option for those times when you just need a quick print of a large, detailed model,
but the edges in your model will look chunky and jagged—not an ideal output for
presentation graphics.
EXPORTING 2D GR APHICS
Being able to get views of your model on paper is great, but for those times when
you’re able to save a tree and transmit your files digitally, SketchUp’s got you covered
with plenty of options for exporting 2D graphics in a variety of file formats.
This section covers the settings and options for exporting raster images, vector graph-
ics, and CAD files.
Exporting Raster Images

SketchUp exports 2D images in a number of formats, including JPEG, TIFF, and PNG.
In Chapter 4, which discussed options for importing image files into SketchUp, you
read about some of the pros and cons of different file formats such as file size, lossy ver-
sus lossless compression formats, transparent backgrounds, etc.—and the same issues
should be taken into consideration when deciding which format to export. This section
looks at the options available for exporting raster images of your model from SketchUp.
1. From the File menu, choose Export > 2D Graphic.
2. From the File Type drop-down menu, choose a file format (e.g., .tif).
TIFF format is ideal for images that will be post-produced in Photoshop or even-
tually end up being printed. PNG files are ideal for Web and onscreen uses.
3. Click the Options button.
The options are primarily intended as a way for you to determine the size and res-
olution for the exported image. When calculating the image size, you’ll want to
consider two things: How will the image be used (e.g., will it be printed, or will it
be sent in an email or posted to a Web site), and how big does the image need to
be (in real-world inch dimensions)? The answer to these questions will ultimately
determine both the image size and the image resolution.
4. On Mac: Unlock the aspect ratio and set an aspect ratio for the image by typing
a number in the top field and the bottom field (e.g., 16:9).
On Windows: You can choose between 4:3 and 16:9 aspect ratios from the drop-
down list to the right.
By default, the aspect ratio is set to 4:3, but you can change it to something wider.
I typically use an image-export aspect ratio of 16:9 because nowadays people are
used to looking at images on widescreen-format monitors and TVs, and a 16:9
aspect ratio works well for both print and Web use.
5. Relock the aspect ratio (relink the chain) and then set an image size for the
exported image.
By default, the image size is measured in total number of pixels. You can use the
Units drop-down menus to switch between pixels, inches, centimeters, and
millimeters.
With the image units set to pixels, you might need to do a little backward math to
figure out an appropriate dimension. For example, if you know that the image will
end up being printed at a resolution of 300 pixels per inch (see Step 6) and the
overall image size needs to print 11 inches wide, the final image size would need
to be 3300 pixels wide (300 pixels per inch × 11 inches = 3300 pixels).
6. When deciding on an appropriate resolution, the end usage for your file is perhaps
the best determiner. For Web (or other onscreen use such as PowerPoint presenta-
tions), set a 72-pixel-per-inch resolution. For print use, set a 300-pixel-per-inch
resolution (Figure 10.7).
Figure 10.7a Print settings optimized for printing Figure 10.7b Print settings optimized for exporting
an 11-inch-wide TIFF at 16:9 aspect ratio. a 400-pixel-wide PNG for Web use at 4:3 aspect ratio.
7. Check the option for Anti-alias. Anti-aliasing will improve the rendering quality
of the edges and textures in your model (Figure 10.8).
NOTE If you’re
going to export
an image of your
model to Photoshop
for the purpose of
compositing the ren-
dering onto a back-
ground image, you can
import the background
image into SketchUp
first (using the “Use as
new matched photo”
image-import option).
You can then use the
Figure 10.8a Close-up of image with Aliased Figure 10.8b Close-up of image with Match Photo option to
edges. Anti-aliased images. align the model to the
background before
8. Mac only: When exporting a TIFF file on the Mac, you can check the option for exporting the TIFF
Transparent background. This option is useful for compositing a rendering of the images to Photoshop.
model onto a background image in Photoshop.
Post-Production Tricks
The following workflow methods can help make the time spent post-producing your
SketchUp renderings in Photoshop (or equivalent) more efficient.
Separate Layers
The Transparent background option (mentioned in the previous section) is also useful
for SketchUp renderings that require post-production in Photoshop. An effective post-
production workflow involves exporting parts of the SketchUp model as separate
images, then recompositing the images as layers in Photoshop.
For example, a SketchUp rendering of a building with trees in the foreground would be
time-consuming to edit in Photoshop, especially if you wanted to edit parts of the
building while working around the trees. By isolating the foreground objects (e.g.,
people, trees) and then exporting that as an image, followed by the midrange objects
(e.g., walls, windows), then background objects (e.g., other buildings, trees), you can
then rebuild the composite image as a series of separate layers. Once the images have
been recompiled in Photoshop, you will have a much easier time selecting and editing
sections of the individual layers.
Hidden Line
Post-producing renderings of models that have been textured with a bunch of photo-
real textures in Photoshop can be a time-consuming endeavor without the ability to
make quick and easy selection sets. You can typically save a ton of time by simply
exporting two additional images of your model rendered in Hidden Line display mode:
one with the shadows on, and another with the shadows off—so that you can easily
select regions of the image using Photoshop’s selection tools (such as the magic wand).
Photo-Realistic Renderings
SketchUp’s default lighting options are limited to a single-point light source—the sun. If
you’re looking to enhance the realism of your SketchUp renderings, there are a number
of third-party plug-ins that, once installed, give SketchUp the ability to render more real-
istic lighting effects and enhance the way that materials are rendered.
IDX Renditioner (idx-design.com): The IDX plug-in allows you to add multiple light
sources and includes material-rendering options for reflectivity and bump maps. A free
version is available for rendering low-resolution images. The full version costs $199 and
allows higher-quality, higher-resolution rendering options. The IDX plug-in is available
for both Mac and Windows operating systems.
SU Podium (suplugins.com): The SU Podium plug-in allows you to add multiple light
sources and includes material-rendering options for reflectivity and bump maps. A free
version is available for rendering low-resolution images. The full version costs $179 and
allows higher-quality, higher-resolution rendering options. The SU Podium plug-in is
available for both Mac and Windows operating systems.
LightUp (light-up.co.uk): LightUp allows you to add multiple light sources and includes
material-rendering options for reflectivity and bump maps. Unlike IDX and Podium
(which render static 2D images), LightUp renders the SketchUp model in 3D. Once the
model is rendered, you can walk around in the rendered environment. A fully functioning
30-day free trial version is available. The licensed version costs $179. LightUp is available
for both Mac and Windows operating systems.
For more information about third-party rendering plug-ins, check out the recording of
the Photorealistic Rendering Options webinar series available online at www.go-2-school.
com/Real-World-Google-SketchUp-7.
Exporting Vector Artwork

In the previous section you learned some options for exporting raster image files.
Raster graphics are flattened, 2D files that are essentially made up of a specific number
of little colored squares (pixels). Vector graphics, like raster images, are flattened
graphics. Unlike raster images, vector graphics are not a pixilated image file format.
Vector files retain endpoints, edges, and polygons—all of which are editable in pro-
grams such as Adobe Illustrator. The workflow of going from SketchUp to Illustrator
is especially useful for professional graphic designers. Architectural designers who ren-
der elevations in Illustrator may also find this section useful.
From the 2D graphic export options, SketchUp offers up export options as vector art-
work formats in PDF or EPS file formats.
What to Expect
Here are a few things you should expect when exporting to a 2D vector graphics format:
• The 3D model will be flattened into a 2D graphic based on the current view of
the model at the time that the graphic is exported.
• All of the visible edges and faces in the model appear as lines and shapes in the
exported graphic.
• Image textures are not exported, and neither are shadows. Instead, the faces are
rendered based on the texture’s default color and shading.
• Edge colors, edge extensions, and profile edge settings are rendered, but any
sketchy edge styles, watermarks, background images, or edge settings for jitter and
endpoints are not exported.
• Dimensions strings are rendered and the dimension text is exported as outlined
text.
• The leader lines from the Leader text notes are exported, but the actual text from
the notes is not.
Once the image files are opened in a vector graphics editor such as Adobe Illustrator,
you can manipulate the lines and shapes. All of the elements in the artwork are sepa-
rated from each other as individual parts and pieces, which can potentially make the
selecting and editing of graphics rather time-consuming.
Everything is also lumped into a single layer in Illustrator. In some cases, if you need
to edit the graphic, it may be faster to lock the layer that contains the SketchUp art-
work and then simply retrace over whichever parts need editing.
Preparing Your SketchUp Model for EPS Export

This section covers some options for setting up your SKP model to make it a bit easier
to edit the line weights and fills of the vector graphics once you’re in Illustrator.
If the edges in SketchUp are being displayed with different edge colors, the edge col-
ors will render in the exported vector graphics. Certain selection options (such as
Select > Same > Stroke Color) in Illustrator are really helpful for editing a SketchUp
rendering to quickly assign appropriate line weights (a.k.a. stroke thickness). The fol-
lowing simple example is intended to illustrate the concept.
1. Draw a box.
2. Open the Styles palette (Window > Styles) and click the Edit tab. Select the Edge
properties icon, and choose By Material from the edge color drop-down menu
(Figure 10.9).
Figure 10.9 Choose

the option in the
Styles palette to view
the edge colors by
Material.
3. Choose Wireframe display mode from the Face Style options in the View menu.
4. Open the Entity Info window and then select the bordering edges with the Select
tool (Figure 10.10).
Figure 10.10 Select

the edges along the
outer rim of the box.
NOTE It is also
possible to paint
edges using the Paint
Bucket tool, but I’ve
found it’s often easier
to assign colors to
edges via the Entity
Info dialog.
5. Double-click the color preview indicator and choose a color (e.g., Green) from
the color palette. Once chosen, the color will be applied automatically to the
selected edge(s).
6. Choose the inside edges and assign a different color (e.g., Blue; Figure 10.11).
Figure 10.11 Choose

the other edges and
assign a different
color to them.
To preview what your model will look like as a vector graphic, choose the Face Styles
option for Shaded View mode. If you don’t like the colors for the faces in your model,
you can edit the colors of your model in SketchUp (I recommend doing a Save As of
your model first), or you can edit the colors in Illustrator once you’ve opened up the
exported vector graphic. Once open in Illustrator, you can use the Selection option for
Same > Fill Color to quickly select and edit similarly colored shapes.
Export Options
Once you’re ready to export views of your model, choose 2D graphic from the File >
Export menu, then choose either PDF or EPS format and click the Options button
(Figure 10.12).
Figure 10.12 The

Mac Options dialog
for exporting 2D
graphics as EPS or
PDF files.
The following options can be customized for obtaining the desired output of EPS (and
PDF) vector graphic files:
• Image Size. As with the previous section regarding raster image export options,
this setting determines the overall image size of the exported graphic. Keep in
mind that SketchUp will export the entire model, regardless of the closeness/zoom/
cropping of the SketchUp camera, and the image size refers to the size that the
entire model will be rendered out as.
• Graphic Scale. You’ll recall that the option to export scaled vector graphics is
only available for orthographic views while in Parallel Projection camera mode
(see previous section, “Exporting to Scale”).
• Line Thickness. SketchUp gives you the option to set a line width (in points) for
the regular edges in the model. Any profile edges will be rendered thicker,
depending on the thickness defined in the profile edge settings in the edge-settings
pane of the Styles window. For example, if the profile edge thickness is set to 5 in
the Styles palette, the profile edges will be 5 points thick in Illustrator.
Creating PDF Files

There’s no denying that PDF files are the most common and popular document-sharing
format. When it comes to turning your model into a PDF file, you can print to PDF or
export to PDF.
Printing to PDF rasterizes the model so that all of the styles, notes, and dimensions are
displayed as they would be if the model view were otherwise printed (on paper) or
exported as a raster graphic (such as a JPEG).
Exporting the model to PDF will create a vector graphic—the options and benefits of
which were explored in this section.
A third PDF option is to export your SketchUp model as a U3D PDF file. The U3D file
format was developed by Adobe to allow interactive 3D models to be added to PDF
files. You can export SketchUp files to U3D format using the Render Plus 3D PDF plug-in
(downloadable from renderplus.com/wk/RPS_3D_PDF_w.htm) or convert your SketchUp
models to U3D format using a file converter like Right Hemisphere’s Deep Exploration
(righthemisphere.com).
Once created, 3D PDF files can be opened and viewed by anyone using Adobe Acrobat
version 8 or higher (get.adobe.com/reader). When exporting to U3D file format,
SketchUp will export textures but will not export styles, dimensions, or text objects.
Exporting to CAD
And so here we are, having come full circle since having looked at the options in
Chapter 5 for importing CAD files, to this section, which illustrates the options for
exporting the work you’ve done in SketchUp to CAD.
To export a file to CAD, you can choose from among a number of CAD formats
(from ACAD R12 to ACAD 2007) in the file format drop-down menu in the File >
Export > 2D Graphic dialog.
What to Expect
NOTE The Here are a few things you can expect when exporting your 3D SketchUp model as a
options you’ll 2D DWG or DXF graphic format:
explore in this section
are similar to those • The 3D model will be flattened into a 2D graphic based on the current view of
explored in the previ- the model at the time that the graphic is exported.
ous section on export-
• All of the visible edges in the model appear as lines in the exported file, and the
ing vector artwork. The
CAD file formats (DXF lines retain whichever colors are visible in the SketchUp model at the time the
and DWG) are techni- model is exported (useful for setting up the edge colors in SKP to mesh well with
cally considered vector your CAD line weights).
formats that can be
Before exporting, you can choose the Styles option to display edge color By
opened in your pre-
ferred CAD application Material (Window > Styles > Edit > Edge Settings > Color > By Material).
or in a vector graphics Otherwise, you can simply determine line weights, colors, layers, etc. after the
application such as model has been exported from SketchUp and opened in CAD.
Adobe Illustrator.
• Edge extensions and profile edge settings (also found under Styles > Edit > Edge
Settings) can be exported, but any sketchy edge styles, watermarks, background
images, or other edge settings such as jitter and endpoints are not exported.
• Faces are not exported, and thus, image textures and shadows are absent from the
exported CAD file.
• Dimensions strings and leader text objects are exported along with text.
Once the exported files are opened in CAD, you can manipulate the lines and shapes.
All of the elements in the artwork are separated from each other as individual parts
and pieces, which can potentially make the selecting and editing of graphics rather
time-consuming.
Depending on the chosen export options (see the following section), it is likely that
everything in your SketchUp model will appear in CAD on one or two layers. In some
cases, if you need to edit the graphic in CAD, it may be faster to simply lock the layer
that contains the SketchUp artwork and then redraw whichever parts need editing.
Export Options
To determine and select your preferred CAD export settings, click the Options button
(Figure 10.13) before saving your CAD file. The following export options are applica-
ble to any of the CAD file formats that SketchUp can export.
Figure 10.13 The Mac

Options dialog for export-
ing 2D graphics as DWG or
DXF files.
• Drawing Scale and Size. If the SketchUp model view is set up with an ortho-
graphic view and Parallel Projection mode is turned on, you’ll have the option to
determine a scale for the CAD file. By default, the scale is set to 1:1. If the check
box for 1:1 scale is unchecked, you can enter a drawing scale as it would appear in
an architectural scale notation. For example, a 1/2" = 1' – 0" scale drawing would
translate into a half inch in the drawing equals 1 foot in the model.
• Profile Lines and Section Lines can be exported as Polylines With Width or as
Wide Line Entities. Personally, I prefer to leave both of these options set to None,
which effectively puts all the lines in the drawing onto a single layer (Layer 0).
Polylines are effectively the equivalent of a shape with perimeter edges and a fill.
The width of the polygons will be equal to the width entered in the Export dialog.
Wide line entities are a single line with a thickness value equal to the width
entered in the dialog.
If you choose the option to assign a line width automatically, SketchUp will try to
choose a line thickness value that proportionally matches the thickness of the lines
in the model.
By default, if you choose to export Profile Lines or Section Lines, the option to
export the geometry to a separate layer will be enabled. This can be a useful
option regardless of whether you want the lines to have a different width. For
example, you could set the width to 0.00" and still choose the option to export to a
separate layer. Having Profile and/or Section edges on separate layers can make it a
bit easier to assign line weights or other properties to those lines in CAD.
NOTE For sectional views of the model, you can use the option for exporting a 2D CAD graphic,
which will effectively create a Section/Elevation drawing. Another option for exporting Section
Lines is to export them all by their lonesome by utilizing the export option for File > Export > Section
Slice. The export options for Section Slice are similar to those described in this section, but the resulting
drawing will contain just the Section Cut lines.
Google Layout
Google Layout is another great option for creating printable presentation graphics of
your SketchUp model. Google Layout is an application that comes bundled with
SketchUp Pro. As its name suggests, Layout is a multipage graphics application that
allows you to import your SketchUp model into a 2D page-like environment for the
purpose of creating working drawings.
Layout’s features include the ability to add title blocks, notes, dimensions, drawing
labels, and graphic entourage, to embed other images, as well as options for creating
2D vector artwork. Best of all, Layout allows you to arrange multiple views of the
same SketchUp model on a single sheet. For each view you can choose between
Perspective and Parallel Projection, choose a drawing scale, and choose a graphic dis-
play style.
Layout is a remarkable program that is certainly worth test-driving (if you haven’t
already). For more information about Google Layout, check out the Layout For Everyone
training DVD online at www.go-2-school.com/Real-World-Google-SketchUp-7.
263
Index
Numbers annotations, adding to models, 246
2D CAD files. See also CAD files Anti-alias option, choosing for 2D graphics, 253
prepping, 78 anti-aliased features, displaying, 26
using Flatten option with, 78 Applications preferences, accessing, 2
2D components, replacing with 3D counterparts, 218 artwork, downloading images of, 109
2D DWG graphic format, exporting models as, aspect ratio
260–261 checking for images, 113–114
2D Face-me components, creating, 191 relocking for 2D graphics, 252
2D graphics unlocking for 2D graphics, 251–252
anti-aliasing, 253 unlocking for satellite imagery, 173
choosing resolution for, 252 attributes for DCs. See also DCs (dynamic
export options, 258–259 components)
exporting raster images, 251–253 absolute, 197–198
post-production tricks, 253–254 Copies, 206–207
2D vector graphics format, exporting to, 255 Hidden, 205–206
2D versus 3D components, 68 interaction, 198–199
3D CAD files, enhancing appearance of, 100–103. See relative, 197–198
also CAD files retaining, 213
3D Geoweb Services companies, contacting, 61 syntax for referencing, 202
3D models. See also Google 3D Warehouse user-defined, 199–201
exporting to CAD, 260 author search operator, using with Warehouse, 48
obtaining for city buildings, 61 AutoCAD files, importing, 72
sourcing, 50 Auto-save feature, explained, 6
uploading and downloading, 47 axes
45deg field of view, setting, 30 considering for dynamic components, 197–198
resetting for walls, 86
Axes Location property, saving for scenes, 222
Axes tool, using to draw walls, 84
Symbol axis inference, locking for edge, 84
~ (tilde), use with filenames, 5
axis origin, relationship to insertion point, 44
A B
Abbott_1.jpg file, importing, 143
Back Porch PM scene, selecting, 233
absolute attributes, using with DCs, 197
backdrop, creating, 111–116
Active Section Planes property, saving for scenes, 221
background image
Add Hidden Layer Ruby script, 221
creating, 111–116
Align View option, using with faces, 249
exporting, 253
alpha channel, information stored in, 106–107
Backup function, explained, 5–6
Amherst City Center 3D Google Earth model, 61
Blue Marble Project Web site, 214
Animation settings, accessing, 20–21
bookcase component
animations. See also shadow animations
creating, 180–181
creating with one section plane, 239–240
naming, 182
creating with two section planes, 241–242
using Horizontal gluing plane with, 186–187
exporting, 228
bookcase shelf, creating nested component for, 189
playing, 228
Brick_Wall.jpg file, importing, 131
of section planes, 237–239
buildings, obtaining 3D models of, 61
setting speed of, 228
264 INDEX
C collision detection, availability of, 29

CAD Color Picker tab, displaying, 155
exporting Polylines, 261 Color Sliders tab, displaying, 154
exporting profile lines, 261 Color Wheel tab, displaying, 154
exporting section lines, 261 colors
exporting to, 259–262 editing for materials, 169
integrating with SketchUp, 94 onscreen sampling for materials, 164–165
workflow tip, 218 specifying for materials, 162–163
CAD contour line drawings, importing, 95–99 commands, assigning to shortcuts, 12
CAD files. See also 2D CAD files; 3D CAD files complexity search operator, using with
avoiding “stickiness,” 73 Warehouse, 48
determining scale of, 261 component axes
drawing walls, 81–88 setting, 184–185
Hidden Geometry feature, 76 viewing, 184
importing, 72–73 component browser
modeling portions of, 94 displaying component folders in, 46
Orient Faces command, 76 elements of, 45
Orient faces consistently option, 74–76 launching, 31
preserving drawing origins for, 74 opening, 45
providing drawing units for, 73–74 Search bar, 52
resources, 104 using with Google 3D Warehouse, 52–53
Reverse Faces command, 75 Component Browser window
saving to DWG format, 78 model preview icon, 60
troubleshooting tiny geometry, 103 Nearby Models option, 59
using layers with, 78–81 searching models near sites, 59–60
using Scale drop-down menu with, 73–74 Component Info attributes, using with DCs, 212–
using Scale tool with, 103 213
CAD plans. See doors; walls; windowsill component libraries, referencing, 4
camera direction, changing, 224 Component Options dialog
camera fly-through. See also scenes function of, 199
playing animation, 228 using, 200
positioning standard camera for, 224–226 component origin, determining, 184–185
positioning target camera, 226–227 Component settings, accessing, 21
reordering scenes for, 229 components. See also DCs (dynamic components)
setting up, 223–224 adding to In Model library, 31
using Walk tool with, 226 advanced uses, 214–218
visualizing line of sight, 227 assigning descriptions to, 182–183
Camera Location property, saving for scenes, 220–221 creating bookcase, 180–181
cameras Edit Component feature, 62–65
aligning to faces, 249 Face-me, 190–194
changing default view for, 225 gluing planes used with, 47
changing field-of-view angle for, 225–226 versus groups, 179–180
setting Eye Height for, 224 importing into component browser, 45–46
city buildings, obtaining 3D models of, 61 insertion point of, 184
Cmd key. See keyboard shortcuts low- versus high-poly, 68
collections Make Unique option, 214–216
creating on PCs, 159 naming, 182–183
defined, 157 photomatching, 151
versus lists, 157 Reload option, 217
using to catalog models in Warehouse, 55 renaming, 182
using to source products, 50 resources, 70
INDEX 265
Save As option, 217 adding interaction attributes to, 198–199

saving to local folder, 70 adding material attributes to, 208–210
scaling, 62–65 adding position attributes to, 197–198
Select Instances option, 214 adding rotation attributes to, 197–198
setting gluing planes for, 186–187 adding Scale attributes to, 211
sizing to dimensions, 200 adding size attributes to, 197–198
streamlining, 68–70 adding user-defined attributes, 199–201
ungluing, 187 creating, 195–196
Upload Component feature, 218 Framing, 211
using nested groups with, 187–190 generating reports, 213
using Scale tool with, 62–63 nesting, 201–205
using Tape Measure tool with, 63–65 Picket Fence, 211
Components directory, accessing, 46 resources, 214
compressed versus uncompressed files, 107–108 retaining attributes for, 213
contour lines scaling, 62
crisscrosses, 98–99 sourcing in Warehouse, 49
loops in, 98 Delete Coplanar Edges Ruby script
manipulating, 98 advice about, 102
selecting, 99 downloading, 100
as surfaces (figure), 97 Depth and Width dimensions, entering, 146
using Sandbox tools with, 99 Deselect tool, features of, 41
contour surfaces with faces (figure), 96 Dimension tool, using with images, 113
Copies attribute, using with DCs, 206–207 dimensions
Coplanar edges adding layers for, 245
deleting, 102 adding to models, 244–246
versus Normal edges, 101 editing, 245
Country setting, selecting, 25 entering during importing, 111
crashes, occurrence of, 6 entering for images, 112–113
Crate & Barrel Web site, downloading images Hide When Foreshortened preference, 245
from, 143 pulling out, 244
Crayons tab, displaying in Materials browser, 155 repositioning, 245
Credits settings, accessing, 22 Dimensions settings, accessing, 22–23
crop region, aligning corners of, 127 door, determining mullions for, 207
Crop tool, using with images, 125–126 door component. See dynamic door component
cropped textures, 125–131 door frame, painting with wood texture, 208
cross sections doors, using Rectangle tool with, 92
activating for section planes, 240–241 DoorSwing component
creating for models, 235–237 attributes for, 202
cube, drawing for dynamic door component, entering Position attributes of, 203–205
195–196 entering Size attributes of, 203–205
curved polyline segments, reducing number of, 95 Drawing preferences, accessing, 2
Custom Icon, using on Macs, 6–7 drawing window
default size of, 16
importing models into, 45
D opening full screen, 16–17
DCs (dynamic components). See also attributes for driver-picking bug, relationship to OpenGL, 10–11
DCs; components DWG graphic format
adding Component Info attributes, 212–213 exporting models as, 260–261
adding Copies attribute to, 206–207 saving CAD files to, 78
adding Hidden attribute to, 205–206 DXF graphic format, exporting models as, 260
266 INDEX
dynamic components (DCs). See also attributes for Normal versus Coplanar, 101
DCs; components Edit Component mode
adding Component Info attributes, 212–213 using, 63
adding Copies attribute to, 206–207 using with nested components, 190
adding Hidden attribute to, 205–206 Edit Group mode, using with plans and elevations,
adding interaction attributes to, 198–199 118
adding material attributes to, 208–210 Edit Material mode
adding position attributes to, 197–198 accessing, 169
adding rotation attributes to, 197–198 color sliders, 169
adding Scale attributes to, 211 color wheel, 169
adding size attributes to, 197–198 elevations and plans
adding user-defined attributes, 199–201 importing PDFs, 123
creating, 195–196 scaling group for, 119
Framing, 211 using Follow-Me tool with, 122
generating reports, 213 using Push/Pull tool with, 120–121
nesting, 201–205 using Rectangle tool with, 119–120
Picket Fence, 211 using Rotate tool with, 117
resources, 214 using Select tool with, 118
retaining attributes for, 213 using Tape Measure tool with, 119
scaling, 62 endpoints
sourcing in Warehouse, 49 clicking for dimensions, 244
dynamic door component. See also components; DCs measuring between, 64
(dynamic components); door component Entourage component resource, 70
adding Component Info attributes, 212–213 EPS export
adding Hidden attribute to, 205–206 models for, 256–258
adding interaction attribute to, 198–199 options for, 258–259
adding material attributes to, 208–210 Eraser tool, using with wall intersections, 86
adding position attribute to, 197–198 Explode option, using with image objects, 118
adding rotation attribute to, 197–198 exporting
adding Scale attributes to, 211 to 2D vector graphics format, 255
adding size attribute to, 197–198 background images, 253
adding user-defined attribute to, 199–201 to CAD, 259–262
changing width of, 200 choosing options for, 258–259
Copies attribute, 206–207 keyboard shortcuts, 14–15
creating, 195–196 raster images, 251–253
Hidden attribute, 205–206 scaled graphics, 249
nested components, 201–205 vector artwork, 255–259
Dynamic Material attributes, problem associated extensions. See also plug-ins; Ruby scripts
with, 210 Deselect tool, 41
disabling, 3
FreeScale, 42
E IDX Renditioner, 41
Eames Molded Plywood Dining Chair, Open Studio, 42
downloading, 100 preferences, 3
edge colors Profile Builder, 41
assigning, 257 Rotated Rectangle, 42
viewing by material, 256 Shape Bender, 42
edges Simplify Contours, 41
clicking for dimensions, 244 Stray Lines, 42
copying, 82 Subdivide and Smooth, 42
locking axis inference for, 83 Tools on Surface v1.3, 41
moving, 83 Eye Height, setting for camera, 224
INDEX 267
F G
Face-me components garage remodel, resource for, 151
advantage of, 190 General preferences pane
features of, 190–191 Auto-save option, 6
faces Check Models for Problem, 7
aligning cameras to, 249 Create backup, 5–6
direction for CAD files, 74–76 Saving section, 5
importing images onto, 109–111 Scenes and Styles, 7
orientation for CAD files, 74–76 georeferenced content, sourcing, 50
placing tileable image textures onto, 128 Georeferencing icon, clicking, 25–26
using Align View option with, 249 Get Models command
using Push/Pull tool with, 93 using with Google Earth, 58
favorites, saving in Google 3D Warehouse, 53 using with 3D Warehouse, 54
field of view Get Photo Textures, tips for, 142
30-degree, 29 glued components, moving, 187
45-degree, 30 gluing planes
changing, 30 setting for components, 186–187
default, 29 using with components, 47
explained, 29 Google 3D Warehouse. See also 3D models
file formats, compressed versus uncompressed, accessing, 47
107–108 accessing online, 51
File settings, accessing, 24 Advanced Search link, 48–49
file sizes cataloging models in, 55
improving performance with scenes, 233–235 creating collections, 55
increase after importing, 107 downloading from Web, 51–52
reducing for models, 26 downloading into SketchUp, 52–54
reducing with Face-me components, 190–191 Get Models command, 54
reducing for models, 65–68 launching in Web-browser window, 54
file-naming conventions, following, 6 My Collections link, 55
files, importing, 43–45 saving favorites in, 53
Files pane saving models downloaded from, 52
component libraries, 4 searching for models, 48–50
material libraries, 4 searching for textures, 160–161
Models field, 3 sourcing dynamic components, 49
style libraries, 4 sourcing georeferenced content, 50
filetype: search operator, using with Warehouse, 48 sourcing products, 50
Filter Forge Web site, 131, 166 uploading components to, 218
Fixed Pin mode, using with cropped textures, Google Cities in 3D program, 61
128–129 Google Earth application. See also satellite imagery
Flatten option, using with 2D CAD files, 78 creating site model in, 56–59
folders downloading, 56
importing models from, 45 Get Current View command, 57
opening at other locations, 46 Get Current View tool, 171
Follow-Me tool, using with plans and elevations, 122 Get Models command, 58
Form Fonts importing site imagery from, 170–171
component resource, 70 international use of, 61
downloading seamless textures from, 131 searching for locations in, 25
Framed Art_27x39.jpg file, downloading, 109 searching for Peachpit Press in, 136
Framing components, dynamic, 211 Terrain layer used with satellite imagery, 177
Free Pin mode, 128, 132–133 Toggle Terrain command, 58
FreeScale toolbar, features of, 42 toggling terrains in, 177
268 INDEX
Google Earth view, importing into SketchUp, importing as free-floating objects, 111–116
136–137 importing with transparent backgrounds, 106–107
Google ID, using for credits, 22 moving with pushpins, 129
Google Images, downloading files from, 112 rotating with pushpins, 129
Google Layout, features of, 262 scaling with pushpins, 129
Google SketchUp setting insertion point for, 112–113
C++ Software Development Kit, 40 shearing with pushpins, 129
communication with OpenGL, 8 using Move tool with, 115–116
integrating CAD with, 94 using Rotate tool with, 115
minimum hardware requirements, 9 using Scale tool with, 114
Quick Reference Card, 11 ImageSynth Web site, 131, 165
Web site, 37, 39 Import command, using with components, 45
graphics cards, compatibility with OpenGL, 10 Import Results dialog, displaying for CAD files, 73
groups versus components, 179–180. See also nested imported images, downsampling, 129
groups importing
AutoCAD files, 72
CAD files, 72–73
H keyboard shortcuts, 14–15
hardware requirements, minimum for, 9 models, 43–45
Hidden attribute, adding to dynamic components, options for images, 105–106
205–206 site imagery from Google Earth, 170–171
Hidden Geometry property In Model libraries. See also models
saving for scenes, 221 adding components to, 31
using with CAD files, 76 placing materials in, 168
Hidden Line display mode, using in post- saving copies of, 160–162
production, 254 using Purge Unused option with, 70
In Model texture, benefit of editing, 169
insertion point
of components, 184
I relationship to axis origin, 44
IDX Renditioner plug-in
setting for images, 112–113
example, 39
installing
features of, 254
OpenGL drivers, 9
toolset, 41
plug-ins, 40
image editing application, choosing, 2
Progress Bar script, 94
Image Import dialog box, displaying, 105–106
Ruby scripts, 37–38
image objects
is:dynamic search operator, using with Warehouse,
exploding, 118
48–49
features of, 108
is:geo search operator, using with Warehouse, 48
gluing, 109–111
ItemCode attribute cell, using for SKU, 212
Image Palettes tab, displaying in Materials
browser, 155
image textures. See also texture images
colorizing, 169 J
resizing for satellite imagery, 171–174 JC Backings Web site, 111–113
imagery, hand-drawn, 116–123 JPEG files, size of, 107–108
images. See also Web images
checking aspect ratio for, 113–114
defining for textures, 165–167 K
downloading from Google Images, 112 keyboard shortcuts
entering dimension for, 112–113 assigning commands to, 12
importing, 110, 112, 116 assigning to QWERTY keyboard, 13–14
INDEX 269
copying, 14–15 Mac users

customizing, 11–14 advice for saving files, 6
defaults, 11 advice for using Custom Icon, 6
Dimension tool, 113 Macs
exporting, 14–15 creating material libraries on, 159–160
finding, 11 creating materials on, 163
importing, 14–15 creating textures on, 167
Make Component, 180 expanding Drawing window on, 16–17
Make Group, 87 placing materials in In Model library, 168
saving, 12 playing animations on, 228
selecting contour lines, 99 sampling onscreen colors for materials, 164
suggestions, 13–14 Make Faces script
kitchen design, resource for, 151 downloading and installing, 94
Kitchen_Elev.jpg, placing as image object, 116–117 using with CAD files, 94
Mass Material Importer Ruby script, using, 168
Mastering_Scenes.skp file, copying, 220
L Match Photo image, applying, 148
latitude coordinates, registering, 25 Match Photo interface. See also textures
layers activating, 143–144
adding for dimensions, 245 aligning perspective bars in, 145
creating, 80 altering grid scale in, 146
deleting, 80 choosing grid style in, 146
making current, 80 elements of, 144
using, 32 features of, 149
using to draw walls, 87 replacing streaky textures, 149–150
using with CAD files, 78–81 resources, 151
Layers window returning to, 146
elements of, 79 setting grid spacing in, 146
opening, 79 setting model origin in, 145
LayOut for Everyone DVD, 262 Match Photo textures, viewing from angles, 149–150
leader text material attributes, adding to dynamic components,
default value for objects, 246 208–210
notes, 246 Material browser, using with dynamic door
using in models, 182 component, 209–210
libraries, creating materials for, 167 material libraries
library terminology, defined, 157 duplicating, 160–162
light sources, adding, 254 Mac options, 159–160
LightUp plug-in, features of, 254 ordering Bonus Material packs, 163
lists versus collections, 157 PC options, 157–158
Location settings, accessing, 24–26 using, 4
longitude coordinates, registering, 25 material-rendering plug-ins, availability of, 254
Look Around tool materials
versus Orbit tool, 224 creating colors for, 162–163
using with scenes, 224 creating for libraries, 167
low- versus high-poly components, 68 creating for projects, 167
creating textures for, 165–167
Edit Material mode, 169
editing colors for, 169
M editing texture images, 169
Mac Materials browser window, features of, 154–155
placing in In Model library, 168
Mac OS, print options, 250
sampling onscreen colors for, 164–165
setting opacity for, 163
270 INDEX
materials (continued) Move tool

versus textures, 154 activating, 44
undoing actions on, 169 using to draw walls, 82
Web resources for, 177 using with dimensions, 245
Materials browser using with images, 115–116
launching, 163 using with section plane, 236
using to create textures, 165 Move/Copy function, toggling to draw walls, 82
using with onscreen colors, 164 Mullion component, Copies attribute for, 206
Web resources for, 177 mullions, determining for door, 207
Materials browser window Mullions attribute, editing, 205
Mac, 154–155
Windows, 156
Max-Polys search operation, explained, 68 N
Model Info settings near: search operator, using with Warehouse, 48
Animation, 20–21 nested components, painting faces within, 208
Components, 21 nested groups, using with components, 187–190. See
Credits, 22 also groups versus components
Dimensions, 22–23 Normal versus Coplanar edges, 101
File, 24 notes, adding to models, 246
Location, 24–26
Rendering, 26
Statistics pane, 26–27
Text, 26–27
O
objects, creating as components, 187–188
model limits, determining with field of view, 29–30
Oceanic Glass Tile textures, searching, 160–161
models. See also In Model libraries; site model
onClick attributes, using with DCs, 198–199
adding realism to, 142
opacity, setting for materials, 163
adding section cuts to, 235–237
Open GL setting, explained, 129
adding watermarks to, 246–249
Open Studio tools, features of, 42
annotating, 246
OpenGL
checking for problems, 7
avoiding breakdown of, 8–11
claiming ownership of, 22
communication with SketchUp, 8
creating cross sections of, 235–236
compatibility of graphics cards with, 10
dimensioning in SketchUp, 244–246
graphics display factors, 10–11
downloading into SketchUp projects, 54
obtaining updates, 9
importing, 43–45
overview of, 8
importing from file folders, 45
speed of, 10–11
importing into drawing window, 45
OpenGL drivers, downloading and installing, 9
print size of, 250
OpenGL preferences
printing, 249–251
default settings for, 10
printing views from, 249–251
Reverse Driver Picking Bug, 10–11
reducing file sizes of, 26
Use fast feedback, 10
saving, 5–7
Use Hardware acceleration, 10
saving from Google 3D Warehouse, 52–53
Use maximum texture size, 10
searching for products, 50
Orbit tool
searching in Google 3D Warehouse, 48–50
versus Look Around tool, 224
searching near sites, 59–60
using with doors, 92
setting scales for, 28–29
using with windows, 90
viewing surfaces after painting, 77
Orient Faces command, using with CAD files, 76
Models field, purpose in Files pane, 3
Monochrome Face Style mode, using, 77
INDEX 271
P using Push/Pull tool with, 120–121

Page Orientation, choosing for printing, 250 using Rectangle tool with, 119–120
Paint Bucket tool using Rotate tool with, 117
using with perspective photos, 134–135 using Select tool with, 118
using with Street View imagery, 140 using Tape Measure tool with, 119
PALM_TREE_OUTLINE.dwg, importing, 191 plug-ins. See also extensions
Parallel Projection mode, using, 30 finding, 39–40
Paste in Place command, using, 68–70 IDX Renditioner, 39–40, 254
PC users installing, 40
accessing graphics-driver information, 9 Plugins folder, accessing for Ruby scripts, 37
PCs PNG files, versatility of, 107–108
creating material libraries on, 159–160 polygon statistic, use of, 26
creating materials on, 163 Position Camera tool, selecting, 224–225
creating textures on, 166–167 posters, downloading images of, 109
placing materials in In Model library, 168 post-production tricks
playing animations on, 228 Hidden Line display mode, 254
sampling onscreen colors for materials, 164 separate layers, 253–254
PDF files Preferences window
creating, 259 accessing, 1
rasterized and vector-based, 123 Applications preferences, 2
Peachpit Press office, searching for, 136 Drawing preferences, 2
Pencil tool Extensions preferences, 3
using with Face-me component, 191 Files pane, 3–4
using with Street View imagery, 137, 140 General pane, 5–7
performance Workspace pane, 16
improving with scenes, 233–235 presentations
optimizing with Face-me components, 190–191 adding watermarks, 246–249
perspective. See field of view annotating models, 246
Perspective correction, using with cropped textures, dimensioning models, 244–246
126 Preserve Location option, choosing, 58
perspective photos Print dialog, opening, 250
using Free Pin mode with, 133 print quality, determination of, 250–251
using Paint Bucket tool with, 134–135 print settings, optimizing, 252
using pushpins with, 133–134 Print Setup dialog, opening, 250
photo textures, applying to models, 139, 142. See also print size, determining for models, 250
textures printing models, 249–251
photogrammetric tools, accessing, 143 products, searching models for, 50
Picasa Web album downloads Profile Builder script, features of, 41
downloading files from, 125 Progress Bar script, downloading and installing, 94
image objects, 108–109 projected versus tiled textures, 124–125
perspective photos, 131 PSD files, size of, 107–108
plans and elevations, 116 Purge Unused feature, using, 26, 70
Picket Fence component, dynamic, 211 pushpins
pins. See pushpins colors of, 129
Place Model tool, using with Street View imagery, manipulating, 129
141 using with cropped textures, 128–129
plans and elevations using with perspective photos, 133–134
importing PDFs, 123 Push/Pull tool
scaling group for, 119 double-clicking on face with, 93
using Follow-Me tool with, 122 using to draw doors, 92
using to draw walls, 81–83, 85
272 INDEX
Push/Pull tool (continued) S

using to draw windows, 90–91 Sample CAD File.dwg, using, 77–78
using with cropped textures, 130 Sandbox tools, using with contour lines, 99
using with plans and elevations, 120–121 satellite imagery. See also Google Earth application
black-and-white versus color, 170
importing into 3D, 170
Q positioning textures for, 176
Quick Reference Card, viewing and downloading, 11 resizing image textures, 171–174
QWERTY keyboard, assigning shortcuts to, 13–14 sampling textures for, 177–178
saving color version of, 171
swapping texture images, 175
R unlocking aspect ratio for, 173
raster images, exporting, 251–253 Save as local collection option, using, 70
rasterized PDFs, using, 123 saving
.rb files, saving, 38 CAD files, 78
realism, adding to models, 142 components to local folder, 70
Rectangle tool keyboard shortcuts, 12
using with doors, 92 .rb files, 38
using with plans and elevations, 119–120 Saving preferences
using with walls, 81 Auto-save, 6–7
using with windows, 89 Create backup, 5–6
relative attributes, using with DCs, 197 scale
rendering plug-ins, availability of, 254 exporting to, 249
Rendering settings, accessing, 26. See also Styles setting for models, 28–29
palette Scale attributes, adding to DCs, 211
renderings, photo-realistic, 254 Scale tool
Reporting tool, using with DCs, 213 versus Tape Measure tool, 65
resolution using with CAD files, 103
choosing for 2D graphics, 252 using with components, 62–63
displaying maximum, 129 using with images, 114
Reverse Faces command scaled graphics, exporting, 249
using with CAD files, 75 ScaleTool attributes, using with DCs, 211
using with Face-me component, 192 scene properties
Rotate tool Active Section Planes, 221
using with Face-me component, 192–193 Axes Location, 222
using with images, 115 Camera Location, 220–221
using with plans and elevations, 117 Hidden Geometry, 221
Rotated Rectangle drawing command, features of, 42 Shadow Settings, 222
Ruby API, downloading, 40 Style and Fog, 222
Ruby Library Depot Web site, 37, 100 Visible Layers, 221
Ruby scripts. See also extensions scenes. See also camera fly-through; shadow
activating, 38 animations; utility scenes
Add Hidden Layer, 221 adding, 223
dependency issues, 38 creating, 220–222
developer resources, 38 function of, 219
downloading, 38 inheriting settings from, 231–232
downloading as .zip archives, 38 renaming, 223
features of, 36–37 reordering for camera fly-through, 229
finding, 36–37 selecting in Scenes window, 231
installing, 37–38 toggling between, 241–242
Mass Material Importer, 168
INDEX 273
updating groups of, 238 site imagery, importing from Google Earth, 170–171
using, 33 site model, creating, 56–59. See also models
using shadow settings in, 232 SketchUcation Extensions Index Web site, 37
using to improve performance, 233–235 SketchUp
Scenes dialog, accessing, 219 communication with OpenGL, 8
scripts. See extensions integrating CAD with, 94
seamless textures minimum hardware requirements, 9
creating, 131 Quick Reference Card, 11
downloading, 131 Web site, 37, 39
searching SketchUp + CAD DVD, 94
Google 3D Warehouse, 48–50 SketchUp projects, downloading models into, 54
via Max-Polys option, 68 SketchUp Show, The
section cuts, adding to models, 235–237 color satellite imagery and terrains, 177
section lines, exporting, 261–262 Face-me components, 191
section plane objects, turning off, 238 garage remodel, 151
section planes “ImageSynth & SketchUp,” 131
activating, 240 keyboard shortcuts, 15
animating, 237–239 Photomatch for components, 151
contexts of, 236 Photomatch and compositing, 151
creating animations with, 239–242 Photomatch kitchen design, 151
features of, 236 Sandbox tools, using, 99
inserting, 235–236 Section tool, 242
making active sections, 237 styles, 235
moving, 236 tileable textures, 131
selecting, 237 SKP format, exporting to, 72
toggling for activation, 239 .skp versus .skb file extensions, 5
updating settings for, 237–239 SKU, using ItemCode attribute cell for, 212
Section tool Smooth Normals option, using with 3D CAD files,
resource for, 242 101–102
using, 235 Smustard Web site, 37
Select tool Statistics pane, accessing, 26–27
using to draw walls, 85, 87 StrayLines script
using with complex shapes, 94 downloading, 99
using with edges and faces, 101 features of, 42
using with plans and elevations, 118 Streaky Sketchy Kitchen model, downloading, 164
settings, shadow, 33 Street View imagery
shadow animations. See also animations; scenes applying to face of building, 139
creating, 229–230 using Paint Bucket tool with, 140
updating shadows in, 230–231 using Pencil tool with, 137, 140
Shadow Settings using Place Model tool with, 141
dialog, 229 Style and Fog property, saving for scenes, 222
property, 222 style libraries, using, 4
Shape Bender tool, features of, 42 styles
shapes, modeling from CAD files, 94 purging, 32
Shift key. See keyboard shortcuts resource for, 235
shortcuts. See keyboard shortcuts Styles palette, using, 32. See also Rendering settings
signage, using glued image objects for, 109–111 SU Podium plug-in, features of, 254
Simplify Contours script Subdivide and Smooth tools, features of, 42
downloading, 95 surfaces, viewing after painting models, 77
features of, 41, 95
using, 95
274 INDEX
T toggling, 125
Tape Measure tool using Max Texture Size option with, 129
versus Scale tool, 65 Thailand_Cropped.jpg file, saving, 127
using to draw windows, 88–89 Thailand.jpg image, opening, 125
using with components, 63–65 TIFF files, size of, 107–108
using with plans and elevations, 119 tilde (~), use with filenames, 5
using with satellite imagery, 172 tileable image texture, placing onto face, 128
template settings tiled versus projected textures, 124–125
layers, 32 tiling textures, 130
In Model components, 31 Toggle Formula View button, using with DCs, 196
scenes, 33 Tool palette, using, 16
shadow, 33 Tools on Surface v1.3, features of, 41
Styles palette, 32 Transparent background option, using, 253
templates transparent backgrounds, importing images with,
erasing parts of, 19 106–107
features of, 20 tree component, creating, 191–194
using, 15–16 tree models, finding, 68
Templates folder, accessing, 20
Terrain layer, using with satellite imagery, 170, 177
terrain surface U
creating with From Contours tool, 99 unit of measurement, setting, 28–29
viewing edges in, 99 Units pane, accessing, 28–29
viewing faces in, 99 Use Max Texture Size option, effect of, 129
terrains, toggling in Google Earth, 177 utility scenes. See also scenes
Text pane, accessing, 27–28 arranging order of, 235
Text tool, creating leader text with, 182 impact of new scenes on, 233
texture images. See also image textures
editing, 169
opening in image-editing applications, 169 V
swapping for satellite imagery, 175 vector artwork, exporting, 255–259
texture maps, image-based, 2 vector graphics, previewing, 258
texture position process, Undo/Redo options, 130 vector-based PDFs, using, 123
textures. See also Match Photo interface; photo Visible Layers property, saving for scenes, 221
textures
correcting position of, 128
correcting size of, 128 W
creating for materials, 165–167 Walk tool
creating from Web images, 166–167 feature of, 29
creating via Materials browser, 165 using with camera, 226
cropped, 125–131 walls
defining images for, 165–167 choosing Intersect Selected, 85
manipulating in perspective photos, 134 cleaning up intersections, 86
versus materials, 154 creating layer for, 87
positioning for satellite imagery, 176 exterior, 84
projected versus tiled, 124–125 interior, 88
reprojecting for Match Photo images, 149 overlapping through corners, 85
sampling for satellite imagery, 177–178 pulling out section of, 83
scaling, 130 push/pulling sides of, 81–82
seamless, 131 resetting axes for, 86
searching in Google 3D Warehouse, 160–161 selecting, 85, 87
tiling, 130 using Make Group option with, 87
INDEX 275
Warehouse (Google 3D) Picasa Web album, 108–109, 116, 125, 131
accessing, 47 plug-ins, 39
accessing online, 51 Profile Builder, 41
Advanced Search link, 48–49 Quick Reference Card, 11
cataloging models in, 55 rendering plug-ins, 254
creating collections, 55 Rotated Rectangle, 42
downloading from Web, 51–52 Ruby API, 40
downloading into SketchUp, 52–54 Ruby Library Depot, 100
Get Models command, 54 Ruby script developer resources, 38
launching in Web-browser window, 54 Ruby scripts, 37
My Collections link, 55 section animations and Section tool, 242
saving favorites in, 53 School, 15, 56, 94, 104, 131, 151, 165, 178, 191,
saving models downloaded from, 52 228, 254, 262
searching for models, 48–50 Shape Bender, 42
searching for textures, 160–161 Simplify Contours, 41
sourcing dynamic components, 49 SketchUcation Extensions Index, 37
sourcing georeferenced content, 50 SketchUp hardware upgrades, 9
sourcing products, 50 SketchUp Quick Reference Card, 11
uploading components to, 218 software developers, 39
watermarks, adding, 246–249 Stray Lines, 42
Web images, creating textures from, 166–167. See also SU Podium, 254
images Subdivide and Smooth, 42
Web sites Text tool tutorial, 28
Add Hidden Layer Ruby script, 221 Tools on Surface v1.3, 41
Blue Marble Project, 214 windows
Bonus Material packs, 163 drawing header heights for, 89
CAD resources, 104 using Orbit tool with, 90
component resources, 70 using Push/Pull tool with, 90
Crate & Barrel, 143 using X-Ray view mode with, 90–91
developer resources, 40 Windows Materials browser window
Dimensions feature tutorial, 23 Edit tab, 156
dynamic components, 214 Select tab, 156
Entourage component resource, 70 windowsill
Filter Forge, 131, 166 drawing, 89
Form Fonts component resource, 70 marking, 89
Form Fonts materials, 177 wood texture, painting on door frame, 208
FreeScale, 42 workspace, resetting, 17
Google 3D Warehouse, 47, 51 Workspace pane
Google Cities in 3D program, 61 Main window, 16–17
Google Earth application, 56 settings in, 16
Google Layout, 262 Tool palette, 16
Google SketchUp, 39
Google SketchUp C++ SDK, 40
IDX Renditioner, 41, 254 X
ImageSynth, 131, 165 X-Ray view mode, using with windows, 90–91
JC Backings, 111–113
LightUp, 254
Mass Material Importer Ruby script, 168
Match Photo interface, 151
Z
Z-fighting, avoiding for image objects, 109, 111
Materials browser options, 177
Zoom tool, using with field of view, 30
Open Studio, 42
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00 RW SketchUp_FM_i-xii.indd i 12/2/09 1:59 PM

REAL WORLD GOOGLE SKETCHUP 7

Find us on the Web at: www.peachpit.com

Peachpit Press is a division of Pearson Education.

Copyright © 2010 by Igloo Studios

Editor: Becca Freed

Printed and bound in the United States of America

00 RW SketchUp_FM_i-xii.indd ii 12/2/09 1:59 PM

Find the media files for this eBook at:

Chapter One: Setting Your SketchUp 7 Preferences . . . . . . . . . . . . . . . . . 1

Chapter Two: Creating Custom Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

00 RW SketchUp_FM_i-xii.indd iii 12/2/09 1:59 PM

Chapter Three: SketchUp Extensions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Chapter Four: Importing SketchUp Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Chapter Five: Importing CAD Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

Chapter Six: Importing Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Chapter Seven: Mastering Materials . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153

Creating New Materials . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162

Chapter Eight: Mastering Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179

Chapter Nine: Mastering Scenes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219

Chapter Ten: Exporting Graphics from SketchUp . . . . . . . . . . . . . . . . . 243

Figure 1.6 The

• Components Component libraries can be maintained locally, or they can be

Workﬂow Tip: Save a Copy (at Least Once a Day)

Figure 1.9 SketchUp’s default icon (left)

Check Models for Problems

Scenes and Styles

What’s It Got to Do with You?

How Do You Avoid an OpenGL Breakdown?

• The number of polygons being displayed on the screen

Setting Custom Shortcuts

To set a new keyboard shortcut on a Mac or PC:

Figure 1.12 You can

Figure 1.13 It takes

5. (PC only) Click OK to save your new preferences.

Keyboard Shortcut Suggestions

Table 1.1 Recommended SketchUp Keyboard Shortcuts

Importing and Exporting Shortcuts

1. Pull the main toolbar in from the side of the screen.

Figure 1.17 Pull in toolbars and

DEFAULT FIELD OF VIEW

To change the ﬁeld of view, you can either:

Figure 2.16 View of

MORE TEMPLATE SETTINGS

there’s an incredible community of Ruby programmers who have already written

Where to Find Ruby Scripts

How to Install Rubies

Where to Find Plug-Ins

• Maxwell Render: www.maxwellrender.com/plugins/sketchup

How to Install Plug-Ins

6. Subdivide and Smooth www.smustard.com

BASIC SKETCHUP FILE IMPORTING

Figure 4.3 You can

USING THE COMPONENT BROWSER

Why Do Some Models Get All Flippity-Floppity?

GETTING MODELS FROM THE GOOGLE

Finding What You’re Looking For

Table 4.1 Useful Advanced Search Operators

Sourcing Dynamic Components NOTE Because

Figure 4.7 You can

Figure 4.8 If you’re

Downloading from the Web